<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"><channel><title>Aneta Chabibulina - Online Art Gallery - Artist Portfolio</title><link>http://www.artq.net/ArtistWork.asp?artist_id=TIITU1407030644011457</link><description>Aneta Chabibulina - Online Art Gallery - Artist Portfolio</description><language>en-us</language><pubDate>Thu, 16 Apr 2026 18:08:04 PST</pubDate><item><title><![CDATA[FERTILISATION]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=AGTB5427036602030019</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/29/WXYZ5427036602030019.jpg'><br>]]></description></item><item><title><![CDATA[PASSWORD TO HEAVEN]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=ZFLI5427030927033051</link><description><![CDATA[This work of art is the first one of a trilogy influenced by the state of Italian current society: where
the extreme role of appearance and wealth seems to have beaten the substance of the being.
The themes of a modern, social and economic order based on the systematic creation and fostering
of a desire to purchase goods and even bodies (both by a sexual and a workforce point of view) are
tackled in this work of art. The abundance of the so called civilized society goes together with the
opulence of a church strangled by food (spaghetti) and sexual scandals but always ready to judge.
Its central position clashes with the impotence of this institution deviously mixed with politics and
interests that are far from its original mission.
Quest'opera è la prima di una trilogia influenzata dall'attuale stato della società italiana: dove il
ruolo estremo dell'apparire e del benessere sembra aver avuto la meglio sulla sostanza dell'essere.
I temi di un moderno ordine sociale ed economico basati sulla sistematica creazione e
incoraggiamento al desiderio di consumo (acquisto) di cose e perfino di corpi (da una prospettiva
sessuale e di "forza lavoro") sono affrontati in quest'opera. L'abbondanza della così detta società
civile va parallelamente con l'opulenza di una chiesa strozzata dal cibo (spaghetti) e dagli scandali
sessuali ma sempre pronta a giudicare.
La sua posizione centrale, cozza con l'impotenza di questa istituzione ambiguamente mischiata con
la politica e gli interessi che sono lontani dalla sua missione originale.<br><img src='http://www.artq.net/artImages/20/HYVD5427030927033050.jpg'><br>]]></description></item><item><title><![CDATA[FEMALE WORRIOR]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=YWQH5427036602031259</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/28/IEZE5427036602031258.jpg'><br>]]></description></item><item><title><![CDATA[IN A MORE FERARUM]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=PWUI5427030927561</link><description><![CDATA[Second work of the Italian trilogy. The cold marble altar placed in a deep throat red as a cardinal
cassok is where the "bizarre" sacrifice of the golden Lamb of God takes place. The pagan ritual
becomes a catholic one and it is shown with impunity and without shame to the adoring, young,
naked and submitted nuns (feminine condition in the church institution as well as in the society).
Worms (shaped as Malloreddus -gnocchetti sardi) represent the secret misdeeds, slithering out
from this insalubrious environment and are also witnessing the post pagan ritual.
The Minister of God and the weak, knelled priestesses are (or wear) dark colour because into
mourning.
Seconda opera della trilogia italiana. Il freddo altare di marmo si erge in una gola profonda di
color rosso cardinale, dove si compie il bizzarro sacrificio dell'agnello di Dio dorato. Il rito
pagano diventa cattolico ed è impunemente e senza vergogna mostrato alle giovani, adoranti, nude
e sottomesse suore (condizione femminile nell'"istituzione chiesa" così come nella società).
Vermi (dalla strana forma di Malloreddus - Gnocchetti sardi) rappresentano le segrete malefatte
che strisciano fuori da questo ambiente insalubre e sono testimoni di questo rito post-pagano.
Il Ministro di Dio, così come le inginocchiate sacerdotesse sono (o indossano) il colore scuro in
segno di lutto.<br><img src='http://www.artq.net/artImages/28/NZNQ5427030927518628.jpg'><br>]]></description></item><item><title><![CDATA[SCRAMBLED FEMININITY]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=HFTM542703096754815</link><description><![CDATA[This work of art is the third and last of this Italian trilogy somehow is the most autobiographical of the three.
As for Password to Heaven recurs the theme of strangling spaghetti, this time on the body of the
feminine subject, as quoting one of the masterpieces of the Mexican artist Frida Kahlo.
The femininity is witnessed also by the presence of the eggs (symbolically and by definition
reproductive) in a waved ocean within the background. There is an emphasized and apparently
paradoxical contrast in this work of art, between the calming, peaceful, pastel colours and the lost
expression of the subject whose venous system is clearly visible on her arms.
The nudity of the woman is covered only by the struggling, probably harming, laces and the young
pneumatic breasts, compressed by them are shown clearly in the centre as ready to be squeezed by
the public.
Still today, in the age we are living, rules of the modern society, are containing femininity from one
side and asking for masculine, strong behaviour and efforts (veins) from another in order to achieve
respect and targets.<br><img src='http://www.artq.net/artImages/25/SBLJ5427030104351685.jpg'><br>]]></description></item><item><title><![CDATA[MATRIOS-CASH]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=GMMS54297154445124</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/23/SSKY54297154445123.jpg'><br>]]></description></item><item><title><![CDATA[ROSARIA'S PORTRAIT]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=QQVE542971544451820</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/20/TUTE542971544451820.jpg'><br>]]></description></item><item><title><![CDATA[MIRROR'S SEDUCEMENT]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=PZGM542971544452459</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/28/AAWF542971544452458.jpg'><br>]]></description></item><item><title><![CDATA[GOLDEN FISH IN A DESERT]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=KGDW542971544453646</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/25/EJHO542971544453645.jpg'><br>]]></description></item><item><title><![CDATA[MATERIAL GIRL]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=WXET542971544454813</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/23/WSAW542971544454813.jpg'><br>]]></description></item><item><title><![CDATA[NEUN UND NEUNZIG LUFTBALLONS]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=SCHG542971544456034</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/24/LNZA542971544456034.jpg'><br>]]></description></item><item><title><![CDATA[MELANCHOLIC ROCKS]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=TTCP542971544455433</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/23/TRNK542971544455433.jpg'><br>]]></description></item><item><title><![CDATA[SPIRIT OF GREY CLOUDS]]></title><link>http://www.artq.net/ArtView.asp?artwork_id=POSQ542971544456616</link><description><![CDATA[<br><img src='http://www.artq.net/artImages/26/JPBR542971544456616.jpg'><br>]]></description></item></channel></rss>