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HoME

personalized art piece, critical text about the personalized art piece, your HoME 2021.

(example pictured above: ‘We are the revolution, hammer and sickle’, modified baby gym, Joseph Beuys + Jeff Koons + Michael E. Smith) 

Imagine. Let yourself be surprised. Personalize an art piece by choosing three artists to bring together in the same art piece

At the same time your home will become like a museum where you can store your personalized art piece and its value. In fact, every modern or contemporary artist you choose has a concrete “value” for our life. Together with your personalized art piece you will also receive a text that presents the value of the artwork.

In a art market that offers only predictable artworks that we can even see before they are exhibited, HoME invites you to be surprised. In a market where the value of the artworks depends only on how high their price is, GOLD offers works at low prices and a critical text that will make their value clear and evident regardless of the price.

As no doors > Luca Rossi Solo Show >> Directly Your HoME + NEW MUSEuM (New York) + Bourse de Commerce (Paris) >>> 4 interventions that question the definitions of Museum, Artist and Artwork > more information about Luca Rossi Project at the bottom of this page or lucarossicampus@gmail.com

AS NO DOORS starts from the realization that the roles of author and spectator have lost defined characteristics and have merged and confused. In 2009 “Luca Rossi” was born from this intuition.

MG: In my opinion, the most interesting, and perhaps least known, aspect of your work is the critical and self-critical work that has generated your work. As Marco Cingolani says, you made a master’s degree in “fine art” for yourself. What was the price of this Master?

LR: The price was definitely the awareness and the fact of proceeding with “open eyes”. This makes you see everything, beautiful things and also ugly things. Then certainly my critical positions have created a kind of “embargo”, but this can also be positive in the moment in which it keeps me away from some toxic dynamics typical of the art world. We can say that my critical action has kept me in a healthy quarantine.

MG: You have often stated that your work stems from the manipulation of information as if information were clay. How does this relate to the altermodern phase that began in 2001?

LR: With the altermodern phase, we slowly move from the centrality of content to the greater importance of the information system that revolves around the content itself. This does not mean that the work of art is less important, but that its “author” consists of a fusion and confusion of roles (we could speak of SPECTATOR). Therefore, it is clear that if the role changes, the nature of the work of art also changes, and therefore also the definition of a museum. Manipulating information today means taking back control of the work.

MG: One of the most controversial and objectionable aspects of your work is the conflict of interests between critic and artist. From the outside it is annoying that you criticise others and then save yourself and little else. How do you relate to this conflict of interests?

LR: The critical work I have been developing since 2009 is first of all done on myself, we could say that Luca Rossi’s first victim is Luca Rossi himself. When I make a criticism, I always try to argue as much as possible. As time went by, it became natural to derive a concrete alternative from all the critical work I had developed, especially in the early years. Many people accuse me of being anonymous, but in reality I would like to expose the anonymity of criticism and critical sense. This deficiency has had devastating consequences on the training of artists and on dissemination to a wide audience. So today, after 12 years, the situation has degenerated and it is increasingly difficult to find positive things. For example, walking around Artissima, which ended a few hours ago, it is evident how many artists are inclined to formalise their works too early, before they have defined a mode, an attitude, a vision of value. The works are like atmospheric agents falling from this MAV cloud, ways-attitudes-visions.

MG: But what value does contemporary art have for our lives? If works of art have no value for our lives, what is the point?

LR: Works of art are always witnesses of value that descend from this “cloud” made up of modes-attitudes-visions. These ways-attitudes-visions can be applied in our daily lives and have a value for us, even a very high value, more precious than money. In other words, works of art can help our ability to see and our ability to train new eyes. But be careful because these valuable works are increasingly rare and difficult to find, especially in the contemporary world.

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If you don’t understand something search for it on YouTube

various material, New Museum 2021.

The work is the exclusive gateway to a sort of Sistine Chapel which is updated daily and capable of “training new eyes”. In fact, every day in the world new videos are made which are then uploaded to YouTube without specific titles. So if we search YouTube for IMG and any combination of 4 numbers, we find a different and bigger list of contents every day.

Not only can anyone participate in this work (by making a video and uploading it to YouTube with the title IMG 0456) but this work also represents a form of resistance to the internet algorithm that would like us to feed only with “things equal to ourselves ”And conform to our tastes. On the contrary, the contents to which the work leads are completely unexpected and in daily change. Today’s work will be different from what we can see tomorrow or in a month. A very significant motionless mobility in a time when we tend to experience motionless things in front of our mobile.
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By left hand fingertips (1) (2) 

saliva and dust on your screen, various material, Bourse de Commerce 2021.

In these interventions we see two sculptures installed with fingertips inside the Bourse de Commerce. The sculptures with fingertips, which Luca Rossi has been making since 2009, represent a primordial and primitive contact with the surface of our cave which, from Apple’s tactile mouse, extends to our screen. These works exist only when we look at them on the screen and anticipate the philosophy of the NFT by 5-6 years.
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LUCA ROSSI 2009 > 2021

massimo de carlo – mart roveretogagosian gallery nywhitney museum – zacheta gallery – versailles –  senanque abbeyvenice arsenale – gamec bergamo – serpentine gallerynew museumboros collection – tate modernprada foundation milanhotel helvetiaon the moon – smach 2017 –  quirinale palacemaat – venezia gardens – marino marini museumlouvre abu dhabi – T293 naples – national gallery of scotland –  sandretto re rebaudengo foundationmanifesta 12bocs arte – gagosian rome 2019venezuelan pavilionvenice biennale 2019 – ICA milan – SIX milan – prada foundation venice – la fondazione roma – palazzo strozzi – bourse de commerce  paris – rinomina paris – blenheim park and gardens – bologna city centre – 

> CRITICISM, THE FIGHT, THE FUTURE: LUCA ROSSI 

 In the Italian contemporary art scene there is a figure of considerable interest. Luca Rossi–artist/ collective, critic, curator, and blogger–is a controversial personality who works in anonymity, as some kind of Anonymous of the Art System. In Luca Rossi’s philosophy, the ego no longer exists because anyone can be Luca Rossi, at the same time that the “critical process”, the virtual space of the Internet, and the real context no longer have boundaries and blend into one.

“Luca Rossi” was born in 2009 from the severe critical context that he himself triggered. “Evolved Ikea”, “Young Indiana Jones Syndrome”, “Smart-relativism”, “Grandparents and Parents Foundation”, are just some of the keywords around which Luca Rossi has been developing a daily critical work. Critical concepts that affect an entire generation of artists forced to confront a century as dense as the twentieth century. This critical work has allowed him to anticipate a fusion and confusion of roles that we can now see very well in a role that we could define as “spectauthor”. Luca Rossi’s unconventional projects arise from a manipulation of information that is treated exactly as if it were clay to be moulded, long before the concept of “fake news” became so important in the public debate. The nature of his works experiences a fibrillation between imagination, conventional object, direct experience and mediated experience.

 Today individuals experience a sort of “non-experience” in the sense that they spend most of their time surfing the “network”, producing a “new memory-without memory” or a “passive and a-critical assimilation” into the system. Luca Rossi knows this well. He constantly reminds us of the history of art and ideas, of our past, of what it means to be critical and active, struggling to preserve one’s own authenticity and originality in the great McDonald that is our contemporary world.

Many curators and artists, both in Italy and Europe, have been following Luca’s work with great excitement. By now Luca is considered the only critical voice that “stands out” in the current Italian landscape.

It is worrisome that Luca’s work has yet to be recognized by institutions and organizations, despite receiving the acknowledgement of the public and many curators and artists. This says a lot about what the value that the Italian system places on the “real artist”. The Italian contemporary landscape has been dragging itself down for more than 10 years, producing artists who “copy and paste”, endless repetitions of projects signed by the same names, and decreeing the end of contemporary art.