Emglish Version

Madonnas

The whole concept of ‘Madonnas’ arises from considerations which the artist, after long and careful thought, has made the focal point of his aesthetic research.

His artistic sensibility, his artistic capacities, the work he’s carried out over the years which has led him to ponder at length on the issue of the media, have led him to a new dimension, a place where being able to ‘communicate with the world’ has become essential to survive.

At first, the female body was studied, photographed, exalted and admired as a wonderful object; then, the object changed and became a living “being”, a human “being”, a thinking “being”, something which “is” a message, a word, a feeling.

That is why the artist chose the only language this globalized world can understand: the “commodification of the body”, and superimposes on this entire ridiculous system his own “communication with the body.”

This is an important creative process; its upshot, “Madonne”, shows how Alberto Magliozzi, a man, calls into question the entire significance of things, their meaning, the distortions this type of globalization creates in our minds.

This millennium has consumed ideas, thoughts, values, ideologies and religious symbols; it has stripped them bare of their original meaning and they have thus lost their ability to communicate, they have become obsolete thanks to the “violence of life” whose rules all of us must obey.

That life, that “being” ill at ease and the consequences of this is precisely what the artist wishes to convey; it is there for all to see, but apparently remains invisible.

That is why the artist, fully realizing that he was embarking upon a difficult path, a path strewn with censorship, hypocrisy and clear-cut contradictions, has decided to deal with the most important theme of all, the theme which separates us from all those other “beings” who share this magnificent but tormented planet with us: “faith”.

This is a psychological “Stations of the Cross”, starting from the “terrible knowledge” that the Christian cross, the most widely-recognized symbol on Earth for millennia, has been replaced by the gold M logo of a famous multinational company.

“A Cross which becomes an M.”

An epochal event which has profoundly changed our times, man and the artist.

That was behind the inception of “Madonnas”: the mother of Jesus with bleeding hands, innocent eyes turned imploringly towards heaven.

It is an overwhelming work of art, surrounded by a nimbus of light which focuses on the central figure, the virgin, suffering, seemingly awaiting something, and her bleeding hands show surprise at something which was never supposed to happen.

The veil, drawn back from its natural position, seems to have flown open while she was wearing it, landing as if by miracle on her hips, as if to shield from indiscreet eyes the womb which has, time out of mind, borne life.

Suffering has made her legs unsteady, they shake yet try to resist the destruction mankind has brought upon itself.

That is why the body is so pale, as if the external purity were reflecting the internal purity; iconographically, white represents purity, the red of the bleeding hands attracts the eye immediately.

Thus, the parade of colors leads to the truth expressed in the figure’s face, the desire for realism in the portrait, can all be seen in the photographic architecture, centered around the face of the figure, with streaming blood; the contrast the naked body makes with the veil which is sadly transformed into a dress is clear.