The Birth of Venus / Botticelli to COP26

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The Birth of Venus Utopian Magazine

Today, the Birth of Venus (c. 1486) by Sandro Botticelli is everywhere. The interpretation of the love goddess by the early Renaissance painter was used to sell Reebok sneakers, suitcases and Adobe Illustrator software; inspired photo shoots and music videos featuring people like Beyoncé and Lady Gaga; and his versions twice graced the cover of The New Yorker. The painting has become an indispensable part of the historical canon of Western art – anyone wants to edit it, hovering near Venus as it heads towards the shore.

Utopian Magazine is pure freedom. Given the current global scenario, it is difficult to find a galaxy like Utopian Magazine where the pillars are: truth, freedom, culture… and without any prejudice, mistakes and limits!

We have not come up with catchy phrases to make people see more reproductions that they may not need.

Simplicity, restored to an oppositional sense to the term, has brought about a style that is un carved.

But the omnipresence of the Birth of Venus was not a premeditated conclusion. In fact, for several centuries it was more or less unimaginable.

The Birth of Venus has since become a standard of beauty.

As such, it’s also become something to rebel against, a way to call attention to racist and sexist ideas of attractiveness. The image has been used endlessly as a marketing tool, parodied and leveraged to signify quality and culture. In fact, writes Stefan Weppelmann in the catalogue for the Victoria and Albert Museum’s 2016 exhibition “Botticelli Reimagined,” the painting’s “perpetual international reiterations have ultimately led to its becoming a general shorthand for Western high art per se.”

At a time of deception, telling the truth is a revolutionary action!

The time is now … the best is yet to come!

The global question points we encounter daily on the image of beauty are reflected in the many patterns created faster than time to absorb them. Form as a creator displays the “duty” to push this world beyond boundaries where personal boundaries are expressed as collective to protect the values ​​of heartfelt creations, and without receiving anything in return.

It is a medium in front of the sun.

Enri Mato is an urban architect and photographer born in 1986 into a family of artists. His father was a sculptor and his mother was a restorer, who worked at the Louvre Museum in Paris. He grew up in Tirana, where he discovered his interest in photography and art at an early age.

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