Photo:  Finding Hope, paper and glue, JR Paris 2020.  

 No, your sight does not deceive you. The web address on the top says “Luca Rossi”, one of the 10 best artists of the last 30 years. “Luca Rossi” was born in 2009 and can be personified by anyone, even by you. In 2009 Luca Rossi began to develop a profound critical action to redefine the definition of artist, museum and work of art. 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. This selection, in alphabetical order, descends from a critical process that lasts from 3869 days.

  After 1989, as for political nationalisms, the figure of the art critic becomes “art curator” to order and manage a large number of artists and works of art. After 2001, on the one hand, this transformation of role leads to the loss of reasons and motivations of the contemporary art, and, on the other hand, we see two language crises: in 2001-post 9-11 “everything was done” and 2009-post social network, “everyone does everything and communicates it to everyone”. Mr. Rossi, like Mr. Smith, represents “all”, and between 2009 and 2019 develops a way and an alphabet consistent with this critical reading.

MAURIZIO CATTELAN > His most iconic artwork dates back to 2001 (Him). Today he chooses the smart cynicism of the “shit and die” .. the golden toilet, the “toilet paper” magazine, are likely to drown him in an easy nihilism. But the “banana” in Perrotin boots at Art Basel Miami 2019 is very good. It tastes like “first Cattelan”.

 Himpolyester resin, wax, human hair, clothes, shoes, 2001. 

MARTIN CREED > In his numbered works, he focuses on the magic and the banality of the ordinary. Small big paradoxes that can change things. Or just “let us be” for a few seconds.

Work No. 628 , dark- blue balloons, multiple parts, each balloon 16 in / 40.6 cm diameter; overall dimensions variable, 2007. 

URS FISCHER > His formal choices, without easy didactic approaches, restore a specific way and temperature, useful for reading and moving through life.

Untitled, paraffin wax mixture, pigment, steel, wicks, 2011.

FELIX GONZALEZ TORRES > A wise marriage of pop art and minimalism. A unique sensitivity that also draws from personal biography. His works act pleasantly on tiptoe, but always with a tragic nuance.

Untitled” (USA Today)Candies individually wrapped in red, silver, and blue cellophane, 1990. 

JR > JR offers great photographic interventions that he installs outside museums. His works seem to start from reasons and motivations that come from the people he meets. Pop art of the last century finds a truly exciting component of “generous humanity”. JR overcomes Banky because he doesn’t stumble on the rhetoric and contradictions that often characterize the British artist.

Finding Hope, paper and glue , Paris 2020. 

DAMIEN HIRST > A provocative artist of the ’90s Young British Artist, in 2017 in Venice he works effectively on the concept of post-truth, satisfying everyone, from the child to the adult, from the art professional to the neophyte.

Bust of the Collector, 2017.  

CADY NOLAND – ANNE IMHOF > The first one since the early 90s revises the “American dream” with meanings that go far beyond the borders of the United States. The second one refreshes the performance with his German Pavilion at the 2017 Venice Biennale (Faust): surveillance dogs, adolescents in different practices. divisions, to review and reflect on the dynamics of the contemporary world. The antipodes of the same vision.

Gibbet (left), 1993–94, and Corral Gates (detail), 1989. (Cady Noland) 

Faust, German Pavilion, Venice Biennale 2017. (Anne Imhof)  

LUCA ROSSI > A multi-face and strongly ostracized figure of the Italian panorama. Through a painful critical path, he redefines the idea of “artist”, “artwork” and “exhibition space borders”. He opens to the alter-modern phase, already taking place outside museums (Google, Apple, Facebook, Instagram, TikTok, Amazon), but which the art world is struggling to deal with. The point is not the artwork but a critical sense to train “new eyes”. (MORE INFO ABOUT LUCA ROSSI) 

ARTFLIX > Request a site-specific “Luca Rossi” Art Project anywhere and on-demand >

Black Mirror, black conditioners / radiators inside the Prada Foundation, visitors’ phones, visitor action, videos made by visitors, Prada Foundation, 2019.  (MORE INFO ABOUT “BLACK MIRROR”) 

TINO SEHGAL > Between 2001 and 2012 he brings the artwork back to direct experience only. Small “art pieces” only to be “lived”. His artworks make you feel the sensation of having an object on your head. Very shady after 2012, the risk is to slip into the “research” performance of the 70s.

Kiss, performance piece, 4th Berlin Biennale for Contemporary Art, 2006

 SANTIAGO SIERRA > Political commitment, minimalism and provocation. He is able to tackle political and social issues without ever deviating into rhetorical speculations (examples: Ai Weiwei, Bansky ..). In the last few years he is too in the shade, but before he had really done so much.

250 cm line tattoed on 6 paid people, 1999.