“If I imagine, I see. What else do I do if I travel? Only the extreme weakness of the imagination justifies that one must move to feel”
pizzas, phone calls, e-mails booking, external structures of Prada Foundation, 2016
The sculpture borns and ends from the private dimension of the author to the private dimension of the viewer. Like a “black hole” that sucked the whole process that goes from power the lights in the artist studio until the last spectator leaving the museum. The “scalpel” becomes the lightness of the fingertips, everything is solved in an instant.
At a time characterized by an overproduction of content and a strong visual pollution, of which we are all producers and consumers, we can actually talk about an “art ecology” where consumption resource is close to zero. We live in a “democracy of content”, where everyone can participate and where the problem is not to create anche comunicate another content, but can make the difference between the contents themself, to hold something and not lost yourself. As if tomorrow 10.000 packs will arrive at home simultaneously. We’ll have to start from somewhere, the need to open all would make us superficial, probably we will start from the brand that we know or the package that is recommend by a friend.
Every art piece of “Now!” maintains an ambiguity between its documentation and its actual installation in the space. This is not an innovative choice (this is what already happens in reality) but a choice that wants to be informed with respect to our contemporary world. The art piece, as every fact of our lives, lives a fibrillation between direct experience and mediated experience. This awareness means increasing the opportunities, redefining the nature of art piece, museum and artist. It is said that when the Jews, in an emergency situation, had to leave their land, they were forced to move from the concept of “monument”, intended as permanent installation, to the concept of “document” .This resilient attitude could also be termed “anti fragile ” or “altermoderno” (after modern and postmodern).
The problem is not to try the experience more real and direct as possible, but developing a critical sensitivity about what we see and live. A critical awareness to make the differences and develop the ability to see, in the broadest meaning of “feeling.” Paraphrasing Bruno Munari we can say, “knowing how to see to know how the make the differences.” Let’s make differences and value choices every second of our lives. If we were blind, believing to see, it would be a disaster: an overlap of bad choices, like pieces of Tetris that we have no time to reposition.
In the “Now!” exhibition Luca Rossi, as other projects, presented between 2009 and 2016, expressed a very clear political position. With the crisis of Western democracy and representation systems, it is now clear how the macro policies are only “floating policy” solution that are not able to accomplish a change. The only available political space is represented by our local, micro and private space. And it is precisely here that this exhibition is installed. The choice that each of us can take in this space is, for our lives, 10-20 times more important than the decision a head of state could take. And it is in this private space, in this rediscovered “political space”, in the silence and calm of our own that we can read, see and enjoy each intervention presented in the exhibition.