Marco Onofri. Le Fil(le) Rouge

Le Fil(le) Rouge, solo show of Marco Onofri premiere at Venice the new work of Romagna born photographer. The exhibition, curated by Gaia Conti, ischaracterized by an anthropological interpretation of dance seen as a symbol, as an expression of a ritual over the course of a single choreography in 9 times.
Le fil(le) rouge, the title of the exhibition, is a word play. A pitch black background and in the middle of the scene, protagonist and resolute, moves softly a fille – a girl -, that “unfolds” among the images as a wire – the fil – the one that connects each picture: an intense rouge, red dress. And it is the movement of this dress, of which you can almost feel the swish that is able to evoke an atmosphere of illusion among consciousness and unconsciousness. The color of vitality and of passion, but also of fire, blood and aggressiveness. They are all strong feelings showing a state of excitement as well as of daring and pride.
Looking at these pictures is like reading the chapters of a modern Little Red Riding Hood where the wolf from which escaping is the deep black that surrounds, but cannot swallow, the heroine. She does not need his hood to hide her face in this sort of endless flight, a fair fight, passing through panes, changing her position, twisting, giving room to the darkness and then take it back. Celebration, spirituality, erotism. Avoiding the problems, facing the void.
Motion and its suspension in space. The eternal struggle against everyday life. A call to mind on figures as intense as American dancer Martha Graham’s, whose minute body could vibrate emotions. A mention to iconic figures of art as the dancer Loie Fullerche, portrayed by Toulouse Lautrec in a drawing made of movement and color. However, that dress reminds me of the Kneeling woman with red dress by Egon Schiele, who seems inclined to get up and take the same dance, that haughty face and those piercing eyes.
The dance that Marco Onofri stages is ephemeral and sophisticated, up-to-date and primordial at once, as Nietzsche says in his essay The Dionysian vision of the world, a “language of strengthened gestures” to the imaginary goal of our daily challenges.

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