FEDERICO SOLMI The Brotherhood

Postmasters is pleased to present The Brotherhood - an exhibition of animated video-paintings by Federico Solmi. This will be his second exhibition with the gallery.

Art Exhibition previously on at Postmasters Gallery in New York, United States.
From Tuesday 08 September 2015 to Wednesday 07 October 2015

FEDERICO SOLMI 
The Brotherhood	 image

Published by anonymous on Friday 04 September 2015.
Contact the publisher.

Known for his hand-drawn, color-saturated, satirical videos, Solmi seeks to portray a dystopian vision of a present-day society that inexorably continues to regenerate and to renew itself, even as it falls apart in front of our eyes.

Imagine the decadence of Fellini Roma (1972).

Imagine a scarlet room filled with ornate, grotesque, animated portraits of Pope Ratzinger, Marie Antoinette, George Washington, Montezuma, Idi Amin, Empress Theodora, Napoleon, Columbus, Genghis Khan, Pachacuti and other powerful leaders throughout history. The Brotherhood is a collection of feared and beloved mythical figures that shaped the world.

“There’s something missing in all writings about power: Very few are able to capture how funny it is. When they examine the horrors that power commits, the sufferings it imposes, the blood with which it stains itself, historians and political scientists always forget to highlight the ridiculous aspects of the inevitable monster and how funny they are, with their ironed uniformed, unearned medals and invented awards.”- Orianna Fallaci, Interviews with History and Conversations with Power.

In this new video portrait series Solmi parodies the iconography of Historical Portraiture with his own absurd portraits of the leaders, members of The Brotherhood, an organization whose goal is to keep global chaos alive and well and to promote the degeneration of human race. Through his portraits and short narrative videos Solmi exposes history as propaganda – fabricated, manipulated, and carefully crafted by leaders and governments in order to suit their ideals. He underscores how skewed, incomplete, and irresolute is our knowledge of the past, and he challenges us to question our beliefs on history. Ultimately he claims that through our own patriotic or religious partisanship, we may be perpetuating the myth.