Anita Sieff
      Giulio Alessandri
  ABOUT   >>>>>


Giulio Alessandri

Feeling is the Parameter of Contemporarity
Il Sentire è il Parametro del Contemporaneo
Marco Ferraris

Psychic Perception
La percezione psichica
Anita Sieff

A.A.A. (aderire all'aperto [adhering to the open]) - In search of Anita Sieff
A.A.A. (aderire all'aperto) - Cercasi Anita Sieff
Pierluigi Basso Fossali

Anita Sieff - La coscienza del vivere
Chiara Bertola

Situazioni della vita quotidiana: riconciliarsi con il presente
John Peter Nilsson

Prove di una "drammatica"
Stefano Coletto

Anita Sieff: Forms of Celebration
Anita Sieff: Forme di Celebrazione
Carlos Basualdo

The Art work as a place for relation
Opera come luogo della relazione
Chiara Bertola

The 21st Century Odalisque
Diane Lewis

Rethinking art practises: What is the new in new?
Riconsiderando le pratiche artistiche: Cosa c'è di nuovo nel nuovo?
John Peter Nilsson

Scultura sociale
Maria Paola Sutto

Anita Sieff
Carlo Montanaro

La sperimentazione artistica in Guggenheim Public
Sandra Caroldi

Anita Sieff
Patricia A. Simpson


WORKS   >>>>>
  Anita is on her way,
she follows a crooked path,
and she gathers encounters,
to be seen through theyr opacity
with only one eye.
Doing so, what she collects
and who she meets
are continuously
refrased, reenacted, redefined.

As the path leading us inside the torqued spyral sculptures by Richard Serra, Anita’s way is a journey inside the form, an introvert path towards Psyche.

Because the inner work, ‘labor inter’, is a labyrinth and a loss of oneself.

This time Anita examines the myth of Eros and Psyche and draws an extract or maybe a treatise made of words, sounds and images in motion, in settlement, searching for their narrative combination.

Yet we know that the myth of Eros and Psyche is also a platonic allegory: the human soul, Psyche, finds her joy and agony in Eros; furthermore, she is tirelessly urged to account for what she cannot know and the more she longs for truth the more it flees from her.

We do not know through desire and yet only because of desire: this seems to be the encoded message in the allegory.

The path to the inner world and to downward is Tamas: the path of Psyche.

Reflections generate further reflections that do not coincide, thereby causing difference and relationship. What exists between Psyche and Eros is most of all -difference and relationship.

The space in between the observer and what is being observed, in other words, the act of seeing that produces which is seen, constitutes Anita’s language, even in its interdicted, prohibited, unfulfilled form. Eros cannot be seen by Psyche.

Yet Psyche dares to see Eros because of vanity, arrogance, indulgence, thirst for knowledge or plain superficiality.
And the matter of seeing, looking at, ascertaining, unveiling is known to be subject to prohibition, to divine interdiction. Eros is concealed to his lover’s eyes.

Of all the things concerning Eros, Psyche cannot live a visual experience, but she can meet her lover’s body every night at will because Eros loves Psyche and Psyche loves Eros.

Psyche too, like Eve, leads the lovers outside the Edenic circle for the love of knowledge or of curiosity.

And wonderful Psyche cannot see the face of Eros.
While Eros can see her and, therefore, falls in love with her.

And Eros is divine and Psyche is human. Here lies the disruption, the subversive matter that upsets the Olympic peace affecting the vast ­ kingdom of Venus.

So well talks in her brainless thoughtfulness Psyche of Capua, known to D’Annunzio, who believed to be Eros, saying that, because of Eros, Psyche is called to a thoughtful erasure of her psychic dimension, to a sort of radical scraping of thought, to a devastating annulment of herself in Eros and for Love-Eros.

Anita’s interest lies in the restoration of the aporia inherent in this lovers’ couple who can love each other as long as they do not know each other fully.
Shadow, darkness are their friend.

Beneath the couple of lovers we perceive the intellectual soul searching for light, copulation, harmonization and overcoming of the opposites, erotic radiance of knowledge.

This is the art of unveiling that recognizes the possibility of translating an idea in the shape of a thing and a thing in the shape of an idea. Explaining the myth or, rather, spreading it out on a white screen like a sheet carefully washed, perfumed and sun-dried.

In Anita’s work we recognize the archetype of what Jung describes as “… Eros is interweaving of textures… Eros is relatedness.” [James Hillman, Anima, Milan, 2002, page 34].  We can say that Eros is the narrative centre of her work and at the same time its main actor as Eros animates the Soul.

And Psyche is the soul and Eros is the spirit.
And time should dissolve so that they can love each other.
And then friendly Jupiter intervenes
And to the lovers he restores time
Stripping mortality off Psyche.

Could this be the way that the Soul reaches its immortality?

If so, if the immortality of the Soul is reached through divine intervention, then the little, vagrant, tender, pallid soul will be destined ab aeternum.

‘Rrose Selavy’ someone said, sensing a happy ending.


Psyche, Ca' Pesaro - Galleria internazionale d'Arte Moderna, Venice, 2011