PALEOLITHIC VENUS -Tiziana Gemin- The representation of human body, in particular the female one, has always been a constant throughout the history of art. Kamilia Kard, in her work “Women as a Temple”, represents a series of women’s torsos characterized by a generously abundant anatomy, in the form of digitally “sculpted” 3D models. For the Italo-Hungarian artist, the operation is ideally connected to “La Géante” poem by Charles Baudelaire, where the French poet expresses his desire to be in sight of an enormous woman, to finally find his inner peace standing by her feet. “… I should have liked to live near a young giantess, Like a voluptuous cat at the feet of a queen” Kard’s figures appear still and monolithic, their opulent colors are saturated with artificial light, though they are representing the natural features of a body. They are just like decadent fleurs du mal mediated by technology, represented with an aseptic style that reminds the iconic still-life pictures of design objects. The Beauty, outdated concept of classical matrix, leaves the place to a decadent phenomenology. Because reality changes continuously, revealing its potential in constant metamorphosis. The virtual materials used for digital sculptures are different: stone, plastic, glass and satin-finished metals. This variability seems to claim an idea of​uniqueness and singularity of each body shape, thus introducing to a poetics that sees diversity as its characteristic feature. The selection of materials, which are applied to digital objects simulating their actual appearance, is characterized by a formal rigidity that is at odds with the represented organic softness. Kard’s Paleolithic Venuses are anti-idols of the era of aesthetic manipulation and the pursuit for physical perfection, which gives place to a short circuit with the icy perfection of the hyper-mediated digital representation. Her figures, in their iconic power, expand their borders to become a body/home, as a symbol of protection and belonging. Or they shall represent some temples hovering between two worlds, a transarchitecture that can overcome the dichotomy between the real dimension and the artificial one, between the sensual and the spiritual. Furthermore, you also find out in this work a questioning about how , in our society, stereotypes of mass culture are configured as a cage of our imaginary, and which can produce a tendency to the commodification of the body. Yet a customizable body, as if the femininity could be reconfigured in a body at your design.

TRASCENDENTAL FLATNESS - Filippo Lorenzin - To bring onto a bi-dimensional plane an object made to be seen from every side has always been a problem, especially since we started pretending to get the illusion to stand in front of a tridimensional object; that's why sculptures are pictured in aseptic environments, dramatically enlightened in order to emphasize their plastic qualities. Kamilia Kard manages to create a series of tridimensional objects made expressly to be brought onto a bi-dimensional surface, and to be seen from a single point of view. The depth of the surrounding environment is unmeasurable: the only evidence we can use in order to get it is the incidence of lights on these objects, the shape and the intensity of the shadows over surfaces that we intuitively recognize as soft. They get all our attention. It is no coincidence that this kind of aesthetics is often used in advertising by tech companies presenting their products: when confronted with an alienating space, we spontaneously look for elements we can feel empathy with. The round line is very important here: as the straight line immediately recalls the cold perfection of the artificial, the round line brings to the realm of the organic. This dynamic can be described in these terms only if we contextualize it in the post-industrial age we are living in. It's interesting to make a comparison with what art historian Arnold Hauser writes in Sozialgeschichte der Kunst und Literatur (1951), concerning the influence of Hellenistic art on Paleochristian art: today as well, our urban and cosmopolitan societies – where the last traces of solidarity have been weakened by capitalism - fear their own extinction, believing that fatal calamities can hit them at every moment; that's what makes them think that only a supernatural intervention can save them, and what makes them interested in the sacred and the spiritual as never before. With some distinctions, the same can be seen in this series of works by Kamilia Kard; by explicitly referring to the Paleolithic Mothers, she is not doing a mere reference – she is consciously pointing to an interest in the transcendental that is more and more conditioning our perceptions and prejudices. This spiritual quest is rendered in the works with visual means. The shapes modeled by Kamilia Kard are warm and embracing, they remind the intimacy of the maternal body; and that's exactly why the absence of heads, arms, and legs, as long as the colors used by the artist, inspire a sense of repulsion. These are alienated bodies, brought to the extreme synthesis of what human warmth means; prosperous limbs traveling, alone and silent, in a space with no reference points, in the effort to fulfill their raison d'etre - to be flattened on a bidimensional plane that makes looking at them in their complexity impossible, and favors the experience of their frontal figures instead. These are bodies made only to give us the feeling they are fit to host; magic flesh that does not require depth, that invites us to look at it in ecstasy, locked in a transcendental dimension that we can't access. These are artificial structures that mimic the organic and genuine, in the effort to bewitch us and make us fall within their voluptuous, flattened shapes.

Editorial Vortex - WOMAN AS A TEMPLE by kamilia Kard