Cy Twombly: (silence)
“People doesn’t want to be the audience, nor the student, wants to get into the thing, they feel that there are already inside.”
“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”
Fernando Pessoa
“Rather than suffering or resist it by inertia, global capitalism seems to have made own flows, speed, nomadism? So we have to be even more mobile. Do not force us, and force us to greet the stagnation as an ideal. Is the world imaginary dominated by flexibility? We invent new meanings for it, inoculate the long term and the extreme slowness in the heart of the speed rather than oppose it rigid and nostalgic postures. The strength of this style of thought lies in operational protocols: to develop a nomadic thought that organizes itself in terms of circuits and experiments, and no permanent installation. We have to oppose to the precarious experience a resolutely precarious thought that fits and infiltrates in the same networks that suffocate us.”
Nicolas Bourriaud
Order a pizza from around the world (you could search the Milan take away “pizzeria” on Google) to be delivered in Milan in “Via Largo Isarco 2” from 10 am to 7 pm on Monday / Wednesday / Thursday, and from 10 am to 9 pm on Friday / Saturday / Sunday.
pizzas, phone calls, e-mails booking, external structures of Prada Foundation, 2016
People can meet and comunicate. The Foundation’s external structures become the backdrop to order a pizza from all over the world. Everyone can take action and take practical action in the space of the exhibition. Just want it.
If you don’t understand a thing look it up on YouTube
3D letters, various material, 2016.
We can’t understand this art piece. It’s impossible. All that remains is to follow the advice of the title along with the context (where we find ourselves reading this eBook). You will arrive in many micro-universes that each day will increase, maintaining an extraordinary poetic value. The nature of sculpture opens to a special fluidity to live privately. Try to believe.
Serial Classic
classical statues, panels, Rome 2016 (external project).
The classical statues of the Capitolini Museums in Rome, on the occasion of the visit of the Iranian President, seem to be back “cubes of marble”, from which the West seems provoked. The nudes were covered with white panels. The challenge is “resculpt” value-scales beyond easy disillusioned and cynical attitudes that are contradicted by the choices we make every day. The art piece so covered seem suspended site waiting for the completion of work.
NOW!
sunrays, a place, 2016.
The movements of the Earth and the Sun create the “light pictures” in perpetual motion, until they disappears completely at night. But rays may also be relationships between people, and when encounter a place that is the art piece. Almost to solve the “empty room”, a void of content that is disguised by overproduction and pollution of contents and new projects.
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With the tip of the fingers of the left hand
various material, 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.
The text has been translated from Italian into English with Google Translate. In so doing, the text deliberately maintains a level of approximation and imperfection that allows a more engaged, interactive, and open reading of the artwork and intentions.
Now. The exhibition of Luca Rossi, you will see at the Prada Foundation, it is always and only where you are. You can be motionless, an hand movement will be sufficient. The consumption of resources, time and money to move, to enter in the umpteenth exhibition space, is near zero. Each art piece is resolved in a few moments to be consumed where we are. Leaving more time (real resource of which we have scarcely) and more resources for us. Work and spectator are motionless, like the art pieces, but at the same time very fast because always in the same time and in the same place. By the way, where you are reading this eBook. We can talk of a “nomadic motionless.”
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.
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.
BIO
Luca Rossi started the blog Whitehouse as a platform for art criticism, information, and art-related projects in 2009. Major representatives of the art world have participated in the blog, contributing to its popularity. Luca Rossi has written in social networks and specialized magazines like “Flash Art”, Artribune.com, and Exibart.com with lucid criticism and originality. Luca Rossi was defined “the most interesting personality” in Italy by Fabio Cavallucci, Director of Museo Pecci in Prato (Exibart.com, 2010), and “the new Vanessa Beecroft” by Giacinto Di Pietrantonio, Director of GAMeC Museum (Artribune.com, 2013). In 2011 Alfredo Cramerotti (curator of “Manifesta” and Museum Director Mostyn, Wales) wrote: “To be honest, I’m not Roberta (a 2011 project by Luca Rossi) made me think more than dozens of other projects I have seen.”
