The way we use representations of animals in advertisements, for entertainment, as decoration, really everywhere in daily life has always been interesting to me. This is what Sara Munari explores in her series of diptychs–“a representation in the representation: who is alive and who is fake looks fake to seem alive.” The artist pairs images of animals in captivity with various likenesses of them found within the same spaces. The symmetry in the pieces is thoughtful, the dull colors symbolic, the meaning striking.

From the artist’s statement (translated by Google; forgive errors): Every day through the media and advertising we are fueled by emotions fictitious performing their function purifying and giving complete solution to our real lives, but the rules of the game are understood and accepted by actors and spectators: it’s fiction. None of these animals for the show will never end, under the eyes distracted by people walking through the bars of the cages and glass, expecting to see an event, so it was worth it to pay a ticket. A Big Brother fee. Grande is nonsense then the reproduction (photography, sculpture, paper), always within the parks, the animals themselves. Where the animal is missing or holed up to evade the human curiosity, here is the puppet that takes over , the cup, the granite statue of the animal that is only representation.

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