moonproject-4

 

If you don’t understand a thing look it up on You Tube 

3D letters, various material, 2016.

 

 

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


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Interview with Luca Rossi: the first step on the earth

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“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. The imaginary world is dominated by flexibility? We invent new meanings for it, inoculate the long term and the very slow heart rate rather than oppose them rigid postures and nostalgic. The strength of this style of thought lies in emerging protocols commissioning way: it is 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

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MG: This third pieces marks a kind of triptych in 2016: the statures covered in Rome, the shadow of the Tower of the Asinelli, and now this work of art on the moon. Why the Moon?

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LR: The idea came to me after reading the introductory text that Fabio Cavallucci wrote in view of the official opening of the Museo Pecci in September 2016. During these years, every project concerns the issue of “distance” and “speed”. In particular, the distance management and a new definition of speed. Artwork, author and viewer are immobile but at the same time very fast. And this always in the same space and time: now and where we are. The museum is always where we are, but this place is also a laboratory. This place is also the only universe that we must explore. The only political space left.

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MG: If we follow the directions of the title we open ourselves to many micro-world micro-universes. I like this view at the edge, it seems to me that push to see everything more carefully. Do you think there are links between this lunar action, the covered statues and the shadow of the tower in Bologna?

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LR: Surely, the three things happened in close and consequential way.

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MG: In these days we are experiencing yet another terrorist attack, I always wonder what role art can play in this.

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LR: The role that can have medicine or pastry. Terrorist acts are the result of complex dynamics and macro-policies. But every decision, as press the button to remove the atomic bomb, takes place in a micro and private dimension. And so we return to the idea of “private world”, the space in which the art piece installed on the Moon acts.

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MG: The artworks covered in Rome had returned marble cubes, and therefore an incentive to sculpt again, to regain value-scales. If you have to sculpt marble, you have to ask “What matters to me?”. What value does this art piece on the Moon? What counts?

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LR: The piece does not pretend to offer yet another content, but provides a policy to manage the enormous overproduction of content to which we are subjected. This is the problem of the contemporary world. As if 10,000 packages arrived at home . We can not see them all, we open those closest, who brings us the friend or that the brand we know bring us. This does not give us the time to enjoy the content and to make the differences between the contents themselves. We imagine that really 10,000 packages to open come to the our house at the same time…the problem would not be yet another package, yet another artwork, but finding a way to manage those packages. The art piece on the Moon minimizes the contemplation and entertainment component. Only one “active” attitude opens to a generous nature of the artwork.

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MG: What do you mean by content overproduction?

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LR: Today, unlike a few years ago not only we are all consumers but we are all “content producers”. Just think of the social networks, the myriad of opinions, the myriad of projects. Today we are all photographers, we are all “Luigi Ghirri” with Instagram. No coincidence that the latest start-ups tend to handle containers, and do not enter into the merits of the content. There are no value-scales to judge the content, although in reality we do value choices every second, starting from the morning when we decide to put the first foot on the land. We can truly say that the first foot on the ground (when we go down from the bed in the morning) corresponded to the first foot on the moon, or in our real universe.

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The Fisrt Art Piece On The Moon

Luca Rossi

(Huffington Post)

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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. 

The renovated museum Pecci inaugurates new office in September and is preparing a supermostra on the theme of “End of the World”. The Director Fabio Cavallucci wrote an engaging introduction to the exhibition, which makes clear the magnitude of the universe, the presence of abyssal distances that cause vertigo if you imagine. Usually we leave the house with a visit to an exhibition, and will do so even visitors Pecci Museum. Viewers enter the room of the exhibition are always looking for something, just as the astronaut is launched into space in search of something. But what are we looking for?

I want to present a work that has been installed on the Moon. It has never happened something like that, also through a Google Adwords campaign, all those who in the world will look on the internet the word “moon” or the word “moon” will view this work as the first result. It will not go to the moon physically, the artwork lives only in its documentation. We must not offend, this thing already happens: we know that the Earth is round through documentation of where other people have had experience; we know the distances between the planets in the Universe for data and surveys experienced and verified by others. But also the important part of what we have learned in our life remains in a “documentation” stage, as well as news reports that every day there are disclosed from all over the world. Usually we have to trust, we take for granted the truth of these facts, we try to mediate between multiple documents and then imagine what was the “facts.” For the work of art that I present today this thing is not worth the work is only present in the place where you find yourself looking at the documentation. Ie in your private dimensions, perhaps the silence of your home, office or on your tablet during the lapping staid a relaxing bath. I always saw space travel as an escape from themselves, as if the astronaut left the human condition on Earth and departed to try something new and different from their ownThis artwork is installed on the moon to tell us that the only space to explore, the real universe, is what we have now, right now, all around us. In the routine, boredom, in the same day, between desires and broken relationships. That is the real condition that we do not know and we do not fathom, what is the universe that makes us fear and elsewhere from which we prefer to run away, and do not look, at least until we will not be forced to “see.”

If you do not understand the work that you see installed on the moon, you are invited entitled to seek that signature on You Tube. You will find a surprise, many micro universes, apparently marginal but with a strong poetic value. At the bottom of our existence is made mostly of so many ordinary and repetitive situations, and not by extraordinary events. And it is on the ordinary everyday things you need to have other eyes, to grasp the magic. This work, without having to move from where you are, will bring in an ever expanding universe that will change and evolve every day when you will try to look for that signature on YouTube.