WEB_catalogo very regina

capital, has resumed the tradition of dressing up and working on the body and on identity, and
on multiple identities, with great precision, a highly iconic language and a completely original
strength and sensitivity.
Vittoria Regina is in fact working on herself and her own body as an open, virgin space, on which
to experiment from time to time with unforeseen and unexpected visions, extracted by surprise
from the contraints of everyday life, through the creation, as meticulous as it is professionally
impeccable, of strange puzzle-images that are difficult to interpret, as if you are sitting in front
of mysterious visual and brain teasers, subtly, or sometimes openly, disturbing, where the formal
rigidity in which they are placed and the imperturbability of the expressions embodied in her
protagonist seem actually to hide the traces of subtle and obscure existential wounds that seem to
open breaches towards a different interpretation of the same forms of reality. The character of
these works is, as in the paintings of the great surrealist masters, that of certain dreams of which
we happen sometimes to remember not the entire sequence, but only an image, a snapshot or just
a feeling, incongruous and surprising as they always appear and, on waking, the incongruous and
surprising images and feelings that remind us of the dreams, of which we can maybe not really
decipher the hidden meaning - if we can really talk a single meaning - while realising that they
possess, in their crystalline ineffability, something that concerns us deeply, that tells something
about us that we have repressed or that we have never been able to express or analyse at a
conscious level, and yet that we recognise as our own, as belonging to our most intimate existential
and deepest core, more logical and rational than any description or reflection. They are images
(or visions) that seem to refer to the dreamlike activity according to the key that Breton himself
ascribed to the waking/dream relationship since his First Manifesto of Surrealism when he spoke
of waking as a mere “phenomenon of interference” compared with the time of the dream, which
refers to it constantly as the real key of their unconscious behavior, and their lapses and emotions
during waking. It is the eternal story of the uncertain and vague performance of our reasoning
and rational side, and its systematic and periodic loss, destruction and disappearance, even in its
“normal operation” day to day, therefore during the long oblivion of any “normal” day (at work,
in relationships, in everyday life, with family or friends), with feelings, fears, anxieties, emotions
and psychological effects which have little or nothing to do with rationality, and which on the
other hand seem to run away - whether we like or not to recognise it - to that place that is the most
intimate and the most mysterious aspect of our existential core, what psychoanalysis has wanted
to rebaptise with the name of the unconscious, and that, by similarity, seems in turn to reconnect
us directly with the most irrational part of us, that also seems to be the most familiar - dreaming,
that is. “As well as it is done,” wrote Breton about the state of wakefulness, “its balance is relative;
it hardly dares express itself, and, if it does, it limits itself to stating that an idea or a woman has
an effect on it. What effect, it would be unable to say; in this way, it gives the measure of its own
subjectivity, and nothing else. Despairing of a cause, it then invokes the case of the darker god of
the other, to which it attributes its own bewilderment.” But, continues the inventor of surrealism,
“Who will tell me that the angle under which the idea that moves him appears, that what he likes
in the eye of the woman is not precisely what links him to dreaming and chains him to the data
that through his own fault he has lost? “