Climate marches, anti-globalization, feminist movements, pandemics and wars. What’s new? Nothing. Human society is subject to the “courses and recourses” process, all that has already happened. Through other social fights, because of different kinds of problems. Focusing on the last decades, it seems unbelievable, today, that we started to talk about global warming, as a consequence of human activities, since the mid-20th century or that one of the first feminist movements dates back to the end of the 1700s, when Olympe de Gouges published The Declaration of the Rights of Woman and the Female Citizen (France, 1791). But now here we are, the 21st century. What’s new? Nothing.
We, humans, have learned how to use technology to communicate, we have started to use laser in medicine and in the artistic restoration. We are able to watch our Home from the space, and the very thought seems extraordinary. But, what about social troubles? We are still there, looking for a significant and universal change. What about our Earth? Superficial steps. Self-respect and survival seem unprofitable. A breath is worth less than a dollar. Would be hypocritical to rule out the human desire of money, we are in the 21st century and we can’t restart from zero. But, if the economic profit and the will to control everything cost more than everybody’s breath, there are no winners. The same goes for any other kind of social troubles or gender inequalities. We always tend to classify everyone ethnically, socially and economically, just to find our illusory identity. We are forgetting where we came from and repudiating what unites us.
What’s new? Nothing, but now we are running out of excuses and every contribution seems necessary. Mass media have the opportunity to divulge information faster than ever before, but there is another way to reach people’s attention and it is through a language that traces the human history. Art. What’s more powerful, to humans, than something created by human gesturality and sensitivity? Nothing, but this is a good thing. Art, in its broadest sense, includes what is created through technical skill and creativity, and therefore through an intimate elaboration. Its communicative possibilities are immeasurable, an artwork can surely show the ability and the inner reality of an artist but can also be used as a documentation, or condemnation, of a particular event. This is one of the main peculiarities of the Pop Realism formulated by Ludmilla Radchenko.
Save The World is, in fact, one the most meaningful examples of this attitude. Starting from Pop art’s iconography and chromaticity, the painter creates a glimpse of a metropolis. It’s New York, as indicated on the traffic sign. Through the harmonious figuration and the eccentric chromatic selection, the city comes to life and seems pervaded by turmoil and agitation. The face of the woman, moreover, evokes the same situation. The chaotic atmosphere, highlighted by the use of various materials, is a metaphor of a situation of instability, the one that we are living right now. Radchenko is a painting narrator and exhibits the icons, the ideologies, the hopes and the tragedies of our age. The elaboration of an iconographic protest, in which we can find the symbols of pop culture and the report of contemporary sensitive issues, is a Radchenko’s trademark. In this way, art reaches one of its nobler purposes. To warn about something current, to document something happened. It is our duty to restrict its role. It can become just something that has helped us to focus on the real troubles, or something that will remind us when everything began to fall apart. Save The Word is a cry of help, a painting alarm.