And yet even the portrayal of the kiss has its own history and its own geography, perhaps even a mathematics
of its own. And so, perhaps, its own aesthetics. And maybe an ethics of its own. It can, therefore, be portra-yed: that has been possible and it will be possible – permitting us to kiss, one might say, by proxy.
However it’s one thing to portray a kiss in motion, 24 frames per second, and quite another to isolate a single
frame, transforming it into a living stili. Not a stili life, perhaps, but a frozen moment of life – that, yes. Stili.
Quite immobile. The crowning moment, the culmination, the climax. In which every kiss becomes the ideai
kiss. The platonic idea of the kiss.
Different kisses, but each urging towards the archetype.
When all surfaces become soft, velvety, dewy, re-dolent of wild flowers. When our partner’s hair suddenly smells of sea and wind. When we are embarrassed
to realise that we have overcome all embarrassment. When lips put up a soft, collaborative resistance. When
your tongue tastes a soul. When teeth don’t bite threateningly but nibble playfully. When breath hints of truf-fles. When even fingers kiss a face, a neck, earlobes – caressingly. When we tighten our hold without hurting
one another. When our hearts beat madly. When you feel both strong and weak. When your head begins to
spin. When you dose your eyes and, even if you don’t dose them, in the meantime everything around you
disappears, as though nothing exists but this kiss, here and everywhere. When you kiss.
And then, when you portray a kiss you relive all of this. The lines come over all tender and begin to melt, each
of its own accord. The colours flake and blur. The forms half blink and then reinvent themselves. The ideas
get lost as they whirl around one another. It’s just that the lines, the colours and the forms… are kissing.
The exhibition Bacinema, an eloquent crasis of the artistic project elaborated by Tricromia Artgallery, brought together the most appreciated names of the world illustration: Lorenzo Mattotti, Franco Matticchio, Sergio Toppi, Josè Munoz, Mauro Cicarè, Manuele Fior, Guido Scarabottolo, Filippo Sassòli, Tanino Liberatore, Pino Borselli, Enrique Breccia, Stefano Casini, Ale+Ale, Jean Claude Gotting, Lele Vianello, Marina Savona, Jaques Loustal Riccardo Mannelli, e Giovanni Robustell, who have singly interpreted two works inspired by film kisses like La Dolce Vita, A qualcuno piace caldo, Nostra Signora dei Turchi, Duello al Sole, Colazione da Tiffany, Il lungo sonno, Via col vento, The Big Sleep, il francese Pierrot le fou firmato da Godard, L’Eclisse di Michelangelo Antonioni, Casanova di Fellini, Anna Karenina con una indimenticabile Greta Garbo e il più lungo bacio della celluloide in Notorius.
For the curator of Bacinema, Tiziana Cino, the works of the artists, appear on this occasion as the contemporary interpretation of film posters that abandon the photographic reality to make accomplices soft lines that flirt with the colors.