Viscerally Yours,
TEXT BY ELISA GANIVET
Do not believe that any god can examine hearts and kidneys, and limit what has its origin in nature and what has its origin in freedom.
M. Merleau-Ponty
A human being is only composed of the liquid and raw net of his organism. The passion s/he feels is conceived only by the entity of idea. However it is the fleshy and the bony corpora themselves which collide in the outburst of erotic-romantic feelings. Barbara Fragogna plays her « gentlewomaneria » with extraordinary sensual and organic perfection.
We perceive the taste of the organs with all our senses. The artist takes us deep into a romantic fairytale the irony of which we cannot escape from. And what would be passion without irony? We are all free to chose our own suffering and interpersonal relations. Our actions in all their craze are foreseeable. Consciously, we dive into them, since human being is an animal- how political, how ironic. Or is it even absurd? An absurd process is being inflamed if the desire is not satisfied. Because it is in the rage of his/her desire that a human being is capable of anything. The artistic process of writing letters in the form of a poem which is then transformed into an email reflects the kafkaesque confusion in a tangible way. Barbara reveals it publicly without pudency and remorse. And what is supposed to be an artist if not someone who shows us their own perceptions of things.
Actually the entity of love can be described in phases: Hesitation, excitement, disappointment and persistence.- isn't it? The emotional surrounding world is presented to us by the recomposition of the perception of the environment via our senses.
One should choose ones` second spinal column very thoughtful. Because obviously it is this framework which braces our future and claims our experiences. A succession of past coincidences always bounces back to itself. This is the characteristic lecture which determines our presence. In this sense the doubled up spinal column branches like the fantastic figures of the significant other which are readable in the continuous ways back and around each other. But this movement close to symbiosis can only exist in the presence because it becomes constituent for ourselves- Or not. Because, again and again we decide over the equilibrium of our instincts.
Consecutive to joy and indulgence there is ecstasy. Our ability to understand would position this last step beyond the borders of physical awareness. When we reach this border, ecstasy is a mere deception to our mind. Our consciousness and the certainty of our mortality allow us to be aware of the borders of our own sensory surrounding in the moment of ecstasy. The consolidation and the intensifying of our abilities could help us to overcome the borders of the space given to us. When we overstep everything imaginable, transgression is almost tangible. Inside of it there is no negative entity since the only goal is to overcome the entity of self. But what lays behind the border of physical and mental perception? Inside of these characteristics of the „outside“- Would ecstasy mean nothing else but death? At least, the evidence of death instinct would be emphasized by it. The artistic oeuvre can reveal the balance between ecstasy and the two opposing instincts which make us what we are. We play with our death as if we wanted to affirm that we are alive. We touch transgression as if we wanted to have an evidence of our existence. It is the equilibrium more than the contradiction which allows us to finally float towards our own pacification. The contradiction of our instincts makes us to who we are and it is the circulation of these streams which characterizes us.
History interacts with metamorphosis like metamorphosis interacts with history. This interaction which can be painterly, linear, sculptural or photographical is being told to us in the dialectic of the lust for life.
It is the immanent and constant progression which makes the language of Barbara Fragogna so extraordinary.
Elisa Ganivet
Doctor of Philosophy, Art Historian, Documentary and Cultural Engineer.
Translation/ English: Miriam Wuttke
TEXT BY ELISA GANIVET
Do not believe that any god can examine hearts and kidneys, and limit what has its origin in nature and what has its origin in freedom.
M. Merleau-Ponty
A human being is only composed of the liquid and raw net of his organism. The passion s/he feels is conceived only by the entity of idea. However it is the fleshy and the bony corpora themselves which collide in the outburst of erotic-romantic feelings. Barbara Fragogna plays her « gentlewomaneria » with extraordinary sensual and organic perfection.
We perceive the taste of the organs with all our senses. The artist takes us deep into a romantic fairytale the irony of which we cannot escape from. And what would be passion without irony? We are all free to chose our own suffering and interpersonal relations. Our actions in all their craze are foreseeable. Consciously, we dive into them, since human being is an animal- how political, how ironic. Or is it even absurd? An absurd process is being inflamed if the desire is not satisfied. Because it is in the rage of his/her desire that a human being is capable of anything. The artistic process of writing letters in the form of a poem which is then transformed into an email reflects the kafkaesque confusion in a tangible way. Barbara reveals it publicly without pudency and remorse. And what is supposed to be an artist if not someone who shows us their own perceptions of things.
Actually the entity of love can be described in phases: Hesitation, excitement, disappointment and persistence.- isn't it? The emotional surrounding world is presented to us by the recomposition of the perception of the environment via our senses.
One should choose ones` second spinal column very thoughtful. Because obviously it is this framework which braces our future and claims our experiences. A succession of past coincidences always bounces back to itself. This is the characteristic lecture which determines our presence. In this sense the doubled up spinal column branches like the fantastic figures of the significant other which are readable in the continuous ways back and around each other. But this movement close to symbiosis can only exist in the presence because it becomes constituent for ourselves- Or not. Because, again and again we decide over the equilibrium of our instincts.
Consecutive to joy and indulgence there is ecstasy. Our ability to understand would position this last step beyond the borders of physical awareness. When we reach this border, ecstasy is a mere deception to our mind. Our consciousness and the certainty of our mortality allow us to be aware of the borders of our own sensory surrounding in the moment of ecstasy. The consolidation and the intensifying of our abilities could help us to overcome the borders of the space given to us. When we overstep everything imaginable, transgression is almost tangible. Inside of it there is no negative entity since the only goal is to overcome the entity of self. But what lays behind the border of physical and mental perception? Inside of these characteristics of the „outside“- Would ecstasy mean nothing else but death? At least, the evidence of death instinct would be emphasized by it. The artistic oeuvre can reveal the balance between ecstasy and the two opposing instincts which make us what we are. We play with our death as if we wanted to affirm that we are alive. We touch transgression as if we wanted to have an evidence of our existence. It is the equilibrium more than the contradiction which allows us to finally float towards our own pacification. The contradiction of our instincts makes us to who we are and it is the circulation of these streams which characterizes us.
History interacts with metamorphosis like metamorphosis interacts with history. This interaction which can be painterly, linear, sculptural or photographical is being told to us in the dialectic of the lust for life.
It is the immanent and constant progression which makes the language of Barbara Fragogna so extraordinary.
Elisa Ganivet
Doctor of Philosophy, Art Historian, Documentary and Cultural Engineer.
Translation/ English: Miriam Wuttke