The pain passes under our eyes h24: through the media we know every detail of other bombings we also want to ignore.

We are set aside, drifting into our natural environment, deriving from the characters that make up our social landscape. Anything, person or theme, lends itself to good links to “talk about”, inviting us to reflect. But everything inevitably tends to dilute and disperse.

Can art then come back to deliver useful content to awaken us from the torpor in which we curse to carry our survivors away from everything?

Of course he can. If there is anyone who can create a conducting wire capable of condensing any form of expression. At the Museo Civico di Marino was inaugurated the exhibition Jesus 3.0, an international collective, focused on the contemporary vision of the visual and mental image of The Man, that through his life and with an unforgettable death, marked by a symbolic martyrdom changed the history of humanity.

A second step will take place in Rome from 20 to 27 December at the Sala “Santa Rita”.

The “Adrenalina” award is divided into 4 creative areas and 3 categories for each area. From painting to digital elaborations, from sculpture to installations, from body art performances, ultimately to poetry and video art. Among the works to mention “Jesus Sub Luceroborante” by Carmen Carriero, refined fiber optic installation and mixed technique on solid wood and mirror, whose contrasts of heart point out the icon of the Cross with an algebraic and hypnotic geometry.

Carmen Carriero, lives in Rome and is native from Campomarino in Molise, a region where the sea waves rise to reach the hills, becoming vineyards and olive groves in perfect symmetry. There, in the middle of this landscape full of aromas, is where I met her work.

Carmen graduated from the Accademia di Belle Arti di Firenze, ever since she has not ceased to experiment until finding the signifiers of a speech inscribed in the geometric abstraction.

In her work, the instability of the plane is the basis. The artist uses lines to express her own poetics of the space. Lines that double at times when reflected in the metallic background that contains them, a linear symmetry in which they acquire motion according to the gaze shift. Is it the abstraction of a landscape?

Naum Gabo and Antoine Pevsner, in the Realist Manifesto of 1920, stated that the kinetic rhythms are the primary forms of our perception of real time.

Edgar Cherubini Lecuna.

Paris, November 2014


Carmen Carriero, habite à Rome et est originaire de Campomarino en Molise, une région où les vagues de la mer montent pour atteindre les collines, devenant vignes oliviers dans une symétrie parfaite. Là, au milieu de ce paysage plein d’arômes, j’ai rencontré son travail.

Carmen est diplômé de l’ Accademia di Belle Arti di Firenze, elle n’a pas cessé d’expérimenter jusqu’à trouver les signifiants d’un discours inscrit dans l’abstraction géométrique.

Dans ses ouvrages, l’instabilité de la superficie est le fondement. L’artiste utilise les lignes pour exprimer sa propre poétique de l’espace. Les lignes qui doublent par moments, en se réfléchissant dans le fond métallique qui les contient, une symétrie linéaire dans laquelle elles acquièrent du mouvement en fonction du déplacement du regard. Est-ce l’abstraction d’un paysage?

Naum Gabo et Pevsner Antoine, dans le Manifeste Réaliste de 1920, ont déclaré que les rythmes cinétiques sont les formes principales de notre perception du temps réel.

Edgar Cherubini Lecuna.

Paris, Novembre 2014


Carmen Carriero, vive en Roma y es originaria de Campomarino, en Molise, región donde las olas del mar ascienden a las colinas transformándose en viñedos y olivares en perfecta simetría. Allí, en medio de ese paisaje cargado de aromas fue donde conocí sus obras.

Carmen, egresada de la Accademia di Belle Arti di Firenze, no ha cesado de experimentar hasta encontrar los significantes de un discurso inscrito en la abstracción geométrica.

En sus obras, la inestabilidad del plano es el fundamento. La artista utiliza líneas para expresar su propia poética del espacio. Líneas que por momentos se duplican al reflejarse en el fondo metálico que las contiene, una simetría lineal en la que adquieren movimiento según se desplace la mirada ¿Es la abstracción de un paisaje?

Naum Gabo y Antoine Pevsner, en el Manifiesto Realista de 1920, afirmaron que los ritmos cinéticos son las formas primordiales de nuestra percepción del tiempo real.

Edgar Cherubini Lecuna

París, noviembre 2014