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Jasmine Bertusi

VEMA – Città Nuova
1 Ottobre 2006
Jonathan Guaitamacchi
1 Ottobre 2006
 

Roma / New York

L'arte è stata in passato utilizzata come mezzo per trasmettere messaggi alle masse. Per secoli papi, cardinali, principi, comuni e uomini di potere in generale hanno commissionato opere, chiese, palazzi, per sensibilizzare il popolo su temi religiosi e politici o per impressionare avversari e alleati con dispiegamenti di ricchezza a sostegno di strategie di potere. Ancora in tempi più recenti le dittature europee hanno imposto un'arte di regime che appoggiasse idee e ideali politici e sociali. Nel secondo dopoguerra l'arte occidentale ha poi sviluppato un nuovo e rivoluzionario interesse per i mass media, mettendo questa volta l'accento sul mezzo e non più sul fine. Correnti artistiche quali la Pop Art hanno capito che lo spettatore si stava abituando a impatti visivi e mezzi di comunicazione più sfacciati. I nuovi linguaggi erano quindi destinati a integrarsi nel tessuto creativo dell'arte. Questa presa di coscienza ha avuto conseguenze inevitabili e oggi queste tecniche di comunicazione sono in totale osmosi con alcune ricerche artistiche. Mentre grafici, esperti di marketing, curatori di immagine, viaggiano su canali indipendenti, l'arte, ormai libera dai suoi interessi propagandistici e politici, si confronta con tecniche espressive che negli anni evolvono e si perfezionano - quali la fotografia, il cinema, e la pubblicità - avventurandosi nei meandri dell'informatica e della grafica alla ricerca di una nuova identità estetica. Jasmine Bertusi, cittadina del mondo nell'era della globalizzazione esaspera l'utilizzo di un linguaggio tecnicamente e concettualmente contemporaneo. In una società, quella occidentale, che non fa in tempo a darsi una identità artistica, architettonica, culturale o sociale, senza che questa sia già sorpassata, rinnovata, demolita o rinnegata, Jasmine Bertusi trasforma e decontestualizza la realtà, per denunciarne la relatività e precarietà, attraverso i trucchi della grafica e dell'informatica.

 

I monumenti di Roma, la sua storia viva e vera da millenni, acquistano nelle immagini di Jasmine Bertusi una forma astratta e fluttuano nel cielo, evidenziando un glorioso passato che ha ormai perso peso, rispetto e valore. Le principali piazze di Roma si specchiano quindi su teloni in PVC. Gli stessi volgari teloni inseriti violentemente nell'arredo urbano, davanti agli occhi dei turisti in visita all'eterna città o agli abitanti della Roma contemporanea, per ricoprire i palazzi in restauro e ospitare pubblicità di ogni tipo. Allo stesso modo i grattaceli di New York, città che nell'immaginario collettivo è sinonimo di frenetico progresso, si scompongono per formare effimere figure geometriche in continuo movimento. Ironica denuncia di una società che sfugge ad alcune regole sociali e finanziarie ma che resta intrappolata in altre, abbagliata da ricchezze virtuali e dal bombardamento mediatico che ci porta molte informazioni ma che al tempo stesso trasforma la realtà enfatizzando alcuni aspetti e lasciandone in ombra altri, trasformando la quotidianità in fiction e confondendo la storia contemporanea con la fantascienza. Jasmine Bertusi utilizza consapevolmente un linguaggio contemporaneo come fosse una trappola, per attirare un pubblico abituato alle aggressioni visive. L'artista richiama l'attenzione sfruttando il linguaggio mediatico per la volontà di arrivare a tutti e sottolineare le trasformazioni in atto e la relatività dei messaggi che ci vengono trasmessi dai mass media. L'opera di Jasmine Bertusi ha quindi la necessità di denunciare un problema di tutti, esasperando le infinite possibilità comunicative, e di sfruttare la visibilità non per pubblicizzare un prodotto o per promuovere un partito politico, bensì per coinvolgere gli spettatori in una presa di coscienza dei cambiamenti e delle possibilità di "fuga". L'opera di Jasmine Bertusi è quindi un invito a reagire.

 
Lavinia Filippi

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  53. […] In fotografia: I monumenti di Roma © Jasmine Bertusi […]

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