inglese

DIGITAL IDENTITY
The digital age is upon us. Space, identity, and even reality can be created artificially. In a time when millions of virtual identities are created every day and foreign cultures are just one click away, we are no longer bound to the physical world as we once were.
Digital manipulation of the image in relation to the profound cultural and aesthetic changes that are taking place, paying particular attention to the problems of sexual identity, the body as a territory to be explored and possibly substituted by artificial life.
The images considered as a visual and cognitive transition on the new meanings of the mutant subject using technology as a means of creative expression. A digital image marked by a profound esthetic and cultural mutation linked to art and technology, and move within Bodies and identity. Identities and faces in time and space, real and virtual, human and artificial, marked or aesthetic (beautiful), with symbols of the new cyberspace culture and the net on their backs, and the neo-tribal symbols of the metropolis. Identities and faces situated between the confines of time and space, among real multimedia cultures, identities and cultures at risk of extinction or at the brink of power, ever present between the urban and digital world.
Faces are battlefields, and above them, identities, deformations, and sexualities meet and collide in a drama of movements. These are expressions of an existence, which move across the material of the bodies themselves. Bodies across material and color imprisoned in their tribal nudity in the search for an exit or an entrance.
The new millenium, a time where the artificial image, through its style, constantly distances itself from the direct outlet of that senseless and often tragic reality, which we experience in art as well as in our daily lives.
Massimo Festi

NORMAL HERO
Personages of the science-fiction culture little famous that uselessly they try to hide to theirs goverflow personality and personages who play to disguise from heroes of the comic strips. These are the out-sense that animate the artworks of Massimo Festi, dissonanti notes that help to understand how much is transient the border between myth and daily triviality. On all cove nervously the black one of the masks that flat stands out on the round shapes of the faces.
Micol di Veroli, 2007

EPIDERMIS
Massimo Festi puts the mask to faces. Its essential participation acts on the frontal connotation of portrait, evidencing therefore the shadow zone, the border to reveal, the ambiguous side of the human nature. The protagonists assume animal features that they send back to imaginary filmic, to the culture of the fetish, to cues of literary nature. In reality they enclose the ambivalence that is recreated in front of the mask like second more and more necessary skin.
Gianluca Marziani, 2006

THE MIRROR IS ABOMINABLE
The reflection concerns on the archetype of the double quantity, in the work of Massimo Festi, that it moves from the ambivalence of the mask in the attempt to alter the identity through the icon of the massmediatic society. Static and austeres, the Heroes, without context and inserted as cutted shapes on baroque background, stretch to evidence the dark side of the existence, between mimetic and suggestions fetish to the service of an intense digital painting.
Roberta Vanali, 2006

IS THE PARTY OVER?
With its pseudo portraits, Massimo Festi, incarnates the today “big issues” creating rising of “contemporary human comedy” of which the artist becomes interpreter sensitive. Static icon, pseudo portraits of boys and girls, than Festi introduces to us through the technique of the digital painting, electronic paintings where the faces, often masked, stand out bidimensionally on important background. The greater part of these characters wears a mask, in order not to hide but in order to introduce themselves in their true identity like anti-heroes censured that they have stopped to believe of being free, disables to you in theirs not to be able to let to go completely.
Isabella Falbo, 2006

In a strange remix of POP subculture, digital technology and painting, Massimo Festi “transforms” a simple photo of family in an elaboration electronic that extends the immediate meaning one. Father and son become therefore contemporary icons, from the unreal and acids colors.
Luca Beatrice, 2006