THE OPENING OF THE SHOW THE GASP OF LOVE IN TERZA RIMA DID NOT GO AS PLANNED.
The resplendently disturbed young woman who in a frothing paroxysm of irrational indignation tore off the gallery wall one of Currado Malaspina's drawings and ripped it into quarters was identified by several attendees as the French chanteuse Venus Anaïs.
It has been rumored for quite some time that Malaspina and Anaïs' very secret yet very public romance had decayed into a rancid culvert of iniquitous melodrama. Her startling outburst at the April 2nd opening at ALT/SPACE LA may have offered a means by which we can finally decode some of Currado's ravishingly repulsive iconography.
Anaïs has always felt that she was swindled into submissiveness, seduced into the role of silent siren and toyed into the task of temporary muse. Her sole job was to enable Malaspina to create an explicit visual diary of his amorous athleticism. It now seems fairly certain that the works exhibited in Los Angeles are graphic depictions of a passion long passed. They render Venus Anaïs as a vessel for an empyrean rapture and the ecstatic consummation of Malaspina's rapacious concupiscence.
The coupling has evidently left someone's cup only half full.