Messina Museum of Milano
In Museum Francesco Messina's rooms, an exhibition organized by the Milan Municipality, City culture Department – Studio Museum Francesco Messina, required by the director Maria Fratelli, and inserted in the cycle of appointments called '' The Side of Culture'' devoted to the relationship between sculpture, 2-dimensional image which stands for, invoke or respond to it through photography or painting. 18 works made by Gianluca Balocco, produced with a precise photographic concept in the historical rooms of Palazzo Reale to portray three famous international dancers, are the result of a work in which the three women come to light for their strength, their experience and force in their thin winding body that looks like a reed, shaped over the years. This is a conceptual work in which the garment worn is considered as an element between the reality and abstract dimension and assumes a role and a different weight for each dancer.
Aida Accolla, with imagination and irony, wears clothes that she has designed and has made and with them she plays different roles, identifying herself as a plant which passes through the four seasons;
Carla Fracci wears a dress designed with the artist for the show; long 15 meters to reveal the swift passage of time and the green colour in tune with nature.
Luciana Savignano with costumes used in the training of a life is portrayed as a samurai warrior; physical and vital. The three female figures stand for three different ways of being a woman and of defining the beauty; suggesting reflections on the common aesthetic homogenisation in contemporary society; the photos are Indian sacred plants shot in their entirety, including roots, refer the uniqueness of each dancer. Their natural beauty, not fabricated by glazed effects, product of experience and maturity is compared to that one present in the plant kingdom by the curator Francesca Bacci: ''in nature, in fact, the mature plants are being praise, reached the height, slowed down their growth to invest in the management of their own complexity. It's the beauty of a form given by the time, made of strength and impulse, resistance and flexibility which demands respect.
The eternal beauty is not accidental because sublime, within the etymological meaning of the term: that arrives and press down to below the highest threshold, to the breaking point of the greatness, point of no return, beyond which even thought loses itself.