If You Don’t Understand Something Search For It On YouTube
various material, 2017.
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 exhibition of Luca Rossi at the Boros Collection in Berlin presents six distinct interventions. The visitor can stand still and where the work of art will always be with him.
Each intervention maintained consciously ambiguity between reality and imagination, between direct experience and experience mediated. In the end even read a newspaper, such as documentation of an exhibition, they can be considered “direct experience”. For this is not about finding the most direct experience, real and engaging as possible, as much as having a sensitivity to distinguish the different experiences, whether direct or indirect.
The visitor experiences the shows exactly when and where it is located. The visitor, while remaining immobile, living a “nomadic fast”, since it is always where the work of art. Not only television brings the event where there are people, but the people themselves can determine their “event” and communicate. The spread of selfie makes evident a significant coincidence, where the author, in addition to being the first viewer also becomes very content. It carries a sentence of Cy Twombly: “People no longer want to do the public or the student, he wants to get into the thing, that he feels that there is already inside.”.
In the emergency of having to leave their country of origin the people jew had to move from the idea of a monument to that document. In postmodern relayed live a crisis of representation, where the overproduction of works and projects, leading to an emergency given the inability to “see”. In 2015 the problem is not to create or communicate their “paper”, another content, be it a new project or a new work of art, but you can make the differences between the content itself. Ie have a critical awareness that allows us to “really see” to make choices “best”. Given the crisis of political representation and political stalemate and floating of the modern state, the only “political” space still accessible is represented from our private space, micro and local level. Only and exclusively in this space have been designed, and we can live, the various works in the exhibition.
The show’s title refers to the Boros collection but also to control the programming of advertising campaigns Google. Anyone in the world would type “boros collection” will have as its first search result link to see the exhibition of Luca Rossi (this since September 15, 2015).
Any intervention in the show keeps power its real realization. But our very perception of the world maintains a fluidity and flexibility constant between reality and imagination. If the flexibility and fluidity of globalization bring economic instability, political and social, Luca Rossi acts even more fluid and flexible. There is no need to consume resources to move and to view the content or to create content; these same contents are always achievable, and are always where we are. The Internet connection becomes the means to enjoy the different works, but also their “sine qua non”. We find the choice of exaggerating fluidity and flexibility, rather than oppose it, even artistic identity of Luca Rossi: no one knows exactly who both “Luca Rossi,” everyone can be; he describes himself as an “attentive spectator”, a blogger rather than an artist in the traditional sense. Luca Rossi reacts to the monolithic character of the twentieth century because everyone can be Luca Rossi, just as anyone can step in and propose their contents. Also in this case the only discriminator is represented by the critical capacity and the attempt to make the differences between the proposed contents.
With the tip of the fingers of left hand
luca rossi, 2015.