Bodies

From third-century Roman art showcasing a headless female figure in a voluminous, solid, and harmonious style – possibly associated with Cybele – to Maurizio Galimberti's mosaic portrait illustrating the contemporary fragmentation and multidimensionality of people through the lens of photography.       

Between these two extremes lies the entire history of art, encompassing the classical and Renaissance human figure of Dosso Dossi’s “Venere” (“Venere”) and Carneo's “Menade Addormentata” (“Sleeping Maenad”). Less than a hundred years later, the Menade – rooted in mythological themes – shows us a more reserved, almost intimate disposition of the body.

Shifting to statuary, the most physical artistic manifestation, we find a multiplicity of forms of expression for the human figure.     

Achille Virgilio Socrates Funi employs didactic and pathos-filled references in his portrayal of “Ettore e Andromaca“ (“Hector and Andromache”), while Igor Mitoraj, in the 1980s, reinterprets the classical subject through his work “Colonna con Gorgone” ("Column with Gorgon"). Giulio Paolini, on the other hand, presents plaster casts that, when distributed in space, become distinct yet nearly identical entities, reflecting each other to the point of losing their individual uniqueness.