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text by Prof. Marco Meneguzzo,art critic 2012

A blurred face is like an erased word in a document. Immediately becomes the "key" of the entire text, where we fix our gaze and attention. Our mind is willing to do anything to "recognize" to see the outlines of a face that you may not know that you know not to know. It does not matter."Focus" is a necessity: it means to regain control of the real, which measures perceptions of their own, calculate distances, putting people in space and at the same time giving the space a dimension. Unlike photography, where you can always extract the reality of a face (it is the favorite game of all TV cop of the digital age ...), the painting is inexorable , that face will be invisible for all eternity.

Miazbrothers they know, and it confront the inevitable: we will never know that face, and desire to know always. In a novel of Spanish Xavier Marias - "A heart so white" ... it seems to me - a guardian of the Prado Museum wants to set fire to a Rembrandt painting that depicts a woman from behind, it has concluded that, despite spent in that room most of his life, that woman will never turn around and he won t see her face. The painting can also be tragic without representing tragedies: enough to build between himself and gaze a veil that no one could ever take and the game is done. The painting is there, at hand, but will never be able to go further: you can destroy it, but it does not violate the secret.


The issue is especially difficult to bear as most basic is the act of recognition: it is known that the human being it only takes two points, a vertical and one horizontal to identify a face, so that you do it even with poor typing of the mobile phone, with which we can express any feeling even - :-), :-( - and that is why of the impenetrability of the painting Miazbrothers is frustrating and attractive at the same time. we can not exempt ourselves from trying (to focus ), and we are confident that we will not succeed.


This short circuit is repeated constantly, even distracted at every glance, even lateral , that will address their canvases, is a perfect metaphor of painting is the constant assertion that the painting moves from reality, but it is not reality. It' s another thing  and another place that constantly deceives our look and our minds, which are made to be fooled by the painting. It thus repeats an ancient artifact, leading to extreme consequences the classical concept of art as "mimesis".


Not only is mimesis, that is, similarity, resemblance, but it is misleading: it makes us blind, instead of showing. Sure, this mythopoetic interpretation may seem generous, open-format for these passport photo - artifice used  by more highly rated artists of other generations, such as Thomas Ruff - but the simplicity of the subject is the symbolic complexity of the subject, which is the first  that humanity has chosen to represent: however, on the one hand there is the need to see the original, the other the intellectual choice to hide. But when it became virtually blind, as in front of  the Miazbrothers `paintings , it sets off the imagination.

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