MAGNIFICAT

The movement of a painting, a fragment of space-time of the most intimate thoughts of Mary, of a very young woman, in relation to the events of her extraordinary life: the authors and the selected paintings contribute to the writing and dynamics in the movement. The rhythmicity of the gesture gives ‘action’ to the potential enclosed in the two-dimensional painting. The vanishing points, as well as the sign that softens to accommodate, are punctuation in choreographic writing. A place, not a place, on the ridge between abstraction and concreteness. Mary as a link between the earth and the divine; the point of view of the mother woman, of the archetype, a common and mortal woman. What remains of Mary despite us?

In Magnificat, Amina Amici resumes and continues the study on the figure of the Virgin Mary, through a laic gaze, in a double research: one on the female and the other on the choreographic writing starting from studies and pictorial-iconographic suggestions.

One wonders what Mary might have thought intimately, what she could feel following such extraordinary life events, and finally, how all this was inscribed in her body.

What was his emotional state, what was his gaze and his heart beating in the speed of fear, probably, in the encounter with the Archangel?