Artist’s Profiles

Contemporary Art Itineraries

Curated by Mario Napoli,Critic Texts by Elena Colombo, Flavia Motolese and Andrea Rossett

Azim Morakabatchi reinterprets the academic painting criteria in order to give a dramatic insight of modernity, introducing a problematic artistic issue which shows the deep investigation of the political discourse. His eminent references are clear and they are inspired, in the first place, by Caravaggio’s and Goya’s style. In fact, it seems to see an interpretation of his mental hospitals, with bodies cut out of light stains and chromatic consistency. The sequential aspect of his structural arrangements and geometric prospective recall the classic standards. However, in the meanwhile, they suggest a potential repetitiveness.

The dehumanization which turns the irrelevance into evil, which addresses the Other, is clear. The result is the stigmatization of the enemy. The process which distances an insane form of diversity acquires aesthetic, practical and ideological criteria: The presence of animal nature is evident and is translated into daily actions, which one always endures and never carries out. Looking at his paintings or at Abu Ghraib’s photos we feel that there are no well-defined line separating victims from executioners. However, in his relation with history, this artist expresses a new kind of awareness. By looking at the common heritage of legends, the observer can meditate on violence as we see it in newspaper and identify the brutality of dictatorships. It can be interpreted as a form of criticism addressing the Middle eastern situation just as much as it can be seen as a universal stance.

Let’s just think for a moment of what was written by Latin American writers about military repression. Mario Benedetti, Carlos Franz or Arturo Fontaine Talavera erase the idea of jailor but insert in their works daily events. Religious figures are at the same level with common people. In the meantime, the single individuals lose his subjective value and becomes objects, nameless pieces of meat which stand on a uniform background which nullify them. The lines create a realistic effect and forge the physical essence of humble portraits or, on the contrary, deny it as it used to happen in the great Masters of the past’s works or in George Bellows ones.

Satura Art Gallery