Vanni Viviani - The Dance of the Senses

Surrealist aesthetics emerged around the 1920s and encompassed all fields of artistic research. Specifically, in the visual arts, Surrealism sought to explore the human subconscious and translate it into artwork through a mechanical writing process based on dream analysis. Consequently, Surrealist artworks proposed the representation of a dreamlike dimension, completely dissociated from reality.

Vanni Viviani's painting is strongly influenced by De Chirico's Metaphysical Art and Magritte's Surrealism. In a deliberately ambiguous and illusory style, the artist creates plausible spaces and situations permeated by alienating elements that challenge every law of physics and space-time. Everything is frozen in an enigmatic atmosphere of suspense and suspense, where real objects appear inexplicably and seemingly without any logical connection. The undisputed protagonist is always the apple, which for Viviani also takes on a profound symbolic meaning. The enigmatic nature of these compositions is further underscored by the exceptionally high formal quality of Vanni Viviani's works, which draws on the finest Surrealist tradition, adopting a hyperrealist and provocative language. Everything appears in a brazenly illusory perfection, and it is thus, through the exaltation of plasticity and light, that the painter succeeds in bringing to life the magic of his paradoxes.

Vanni Viviani was born in 1937 in San Giacomo delle Segnate. He began his artistic career in Bolzano, initially focusing on figurative painting and sculpture. In the 1970s, he moved to Milan, where he felt the need to move from the collective nature of the ears of corn to the individuality of the "Apple," an allusive and erotic symbol, the product of religion, fairy tales, science, and heroes, evoking important moments from the past—from the Golden Apple of Paris to the religiosity of Piero della Francesca—and ultimately to Magritte-like surrealism, with the apple as a symbol of life, sensuality, and the home of ideas.

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