2/2
. What
draws the artist’s attention
most is the confrontation between 15th century Italian art and
German Gothic, more than the mix of styles of which mannerism
is made. Here the painting of Nezir attains voluptuousness. It
is interesting to see how Nezir succeeds in amalgamating fabulous
traditional themes with the tastes of today; a splash of surrealism,
echoes of German Fachlighkeit (OTTO DIX in particular) and a big
helping of magic surrealism and the delicious inventions of science
fiction. Some audacious perspectives, fragmented in elongated
and forced viewpoints, certain naturalistic obsessions, and above
all the mix of old and new (e.g. ; the human and the mechanical)
make this painting fascinating. These same deformations become
a game, not so much of formalism, but of an expressive element
with deep psychological implications. Imbalance and incongruity
are naturally a part of the scene. A poignant symbolic quintessence
is attained with the images turned against themselves with all
the tubes and filaments and mechanical insertions in the body.
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.Painting
such as this with its anachronism and classical references is very
surprising in today’s art scene. We are in the presence of a past
so strong that it produces strange forward movements; we have trouble
discerning what belongs to history and what echoes fantasy. Nezir
moves in ambiguous ground, were the very risky means spell out a
spirit of challenge and adventure. Given the cultural context, this
is perfectly plausible. It is interesting to note how this challenge
is carried forward, a visceral pleasure to admire the ability of
a painter with the patience of a medieval miniaturist.
A Turk from Kurdistan comes to exhibit in Venice,
a city still imbued with an oriental memory, to unlock a world (that
of the gothic German, modeled by the renaissance spirit of Dürer)
which seems frozen in its gilded molding. ....History
can be delivered to us in fantasy. The tubes that protrude from
the woman’s body are the symptoms of this improbable result. |