anger never dies

anger never dies 2016 - antonio massara Original art work, B&W digital print archival duration forex paneled and fitted on the hand made frame by Enzo Novara reusing woods of 1500 buildings.. 

anger never dies 2016 - antonio massara

Original art work, B&W digital print archival duration forex paneled and fitted on the hand made frame by Enzo Novara reusing woods of 1500 buildings.. 

 

  

Piazza Pretoria, the famous fountain "of Shames" in Palermo.

Designed By Francesco Camilliani for the great Florentine garden of Don Luigi Toledo to half of '500, it was really strange for that time. The garden had no home, with this huge fountain, surrounded by a huge colonnade. Hidden from view and to be seen only by a few guests that Louis Toledo had to invite for walking. To me it seems obvious that Toledo deceived his lovers near the fountain. Far from representing the ubiquitous Muse and theological virtues, it depicts river monsters and cast Greek deities in a single dripping water complex. And, incredible fact for that time, the sex of the various figures, humanized or monstrous, is portrayed with all the generosity that only work "for your eyes only" could afford.

Unfortunately Luigi Toledo needed to replenish its finances and to sell the large garden. So he convinced his brother Garcia, Viceroy of Sicily, to propose to the Palermo Senate to purchase the fountain.

The fountain came in Palermo May 26, 1574 dismantled in more than 600 pieces. It was adapted and finally exposed to the public. That had to be scandalized. In two sides of the square there were the Church of Jesus and one of the most important monasteries of cloistered nuns in all Sicily. You can still see the bars on the windows. In a few years all the male statues of human figures have been emasculated and the sex of the male monsters remained untouched, even monstrous.

The cold wisdom of old wood and the sensual instantaneous power of sexual desire, represented by the monsters who crave siren. The tactile rough textur of old wooden opposed to sugary white marble, the sinuous forms against scratching of the frame. To represent, once and for all, that the strength of the rabid desire is never extinguished.