International Contemporary Art exhibition November, 19-30 2021. « Hysterica » the new exhibition organized by M.A.D.S. Art Gallery
Hysteria denotes a psychoneurosis characterized by very insistent emotional states and particularly theatrical paroxysmal attacks. For centuries, hysteria has been used to hinder, imprison and pathologize the female condition. The term itself comes from the Greek, ὑστέρα (hystera), which means uterus. According to the Corpus hippocraticum, any disease affecting the female organism was due to the displacement of the uterus within the body: Hippocrates attributed to this organ those inexplicable morbid phenomena that affected women in particular emotional conditions or states.
These considerations remained almost unchanged until the modern era, it was in the seventeenth century that the doctrines on hysteria as a phenomenon due to gynecological causes began to be overcome, starting to leave room for hypotheses of cerebral origin and of the nervous system, until the second half of the Nineteenth century when hysteria was recognized as a psychic phenomenon that affected both men and women.
Literature, however, between the nineteenth and twentieth centuries, is covered with female figures imprisoned in a narrative that described them as unstable, capricious, but also endowed with a violent craving, which makes them dangerous, frightening, and for this reason they must be healed, locked up. The artistic attraction of the hysterical woman leads her to be a very popular topic among nineteenth-century novelists and writers, but also in theaters and on cabaret stages. The hysterical woman is traced to Emma Bovary, diagnosed by the doctor Charles Richet as a « light hysteric », we find her in Svevo’s Amalia in Senility and in Ippolita Sanzio in Gabriele D’Annunzio’s Triumph of Death… +
« Painting is stronger than me; she forces me to paint as she wants. » (Pblo Picasso)
The idea that a set of apparently imprecise and random lines and colors can actually hide a precise figureand an artistic subject, was unthinkable centuries ago. Thanks to the courage and the experiments ofcharacters in sight that made the history of the twentieth-century avant-gardes, we have the opportunity todiscover worlds that we can only see through the eyes of artists. Artist Julia Orsini has a totallyunpredictable way of suggesting refined and profound subjects as we can see in her works. Thanks to theadvent of movements such as cubism and abstractionism we were lucky enough to find ourselves asspectators of art in front of works that apparently did not have a sense or a logical form, however we werefascinated and involved. With the advent of Cubism, artists were able to represent reality in a differentway from the traditional one and with Abstractionism they were able to represent the very metaphysicalsense of the things they wanted to represent.
Julia somehow manages to combine the two currents using a completely personal technique to be able torepresent as she wants like the concepts that she is able to transmit thanks to art. If we take as referencethe faces of women painted by Pablo Picasso we can perfectly summarize these concepts: we know thatwe are admiring a woman’s face and yet this face has almost nothing human. The distortion of thefeatures itself conceals the meaning of the painting and the expressiveness is enhanced in the way that themost important thing is not the perfection of the execution, but the reaction of the viewer. Julia Orsinimanages to represent women’s faces that remain etched in the memory. The elegant and enchantingfeatures are enriched by contrasting colors and energetic brushstrokes, as if they wanted to come out ofthe canvases and come against us. The artistic hysteria of the protagonists of this young artist manages togive her works a positive charge and an overwhelming aspect that leaves one fascinated.
Art Curator Letizia Perrieri