MG: The 4 works you presented in Spain are strongly linked and represent, in my opinion, your essence. The paintings of light (2011) in a Majorcan house are the opposite of the “black screens” (2019) that we find, “clandestine”, inside the institution, inside the Prada Foundation in Venice. At the same time, the large red sculpture was made using fingertips as if to sculpt the screen itself. And again the installation of the IMG series refers to a screen where we find a playlist in continuous and daily growth. Could we say that the focus of your work is the screen?

LR: This reading is very interesting, and it certainly is. As Andy Warhol had guessed in the 60s, today we can all aspire to 15 minutes of celebrity, but to do this we are forced to become the screen of our mobile phone. If you are not a good “social media manager”, if you are not using social media, you risk “not existing”. “Luca Rossi” is a false identity, a puppet that has been fed to the demon of our time.

MG: The sculpture you presented in Menorca exists only in its documentation, you made the first of this series in 2009, at night, inside the Gagosian Gallery in New York. In this case, however, to see the work we have to see a video, a sort of subjective experience. How much can virtual experience replace real experience?

LR: I have never seen a replacement as much as an integration of the two. While usually I have never accepted the printing of these works “carved with your fingertips” in this case a nice large print would be correct, together with the video. Right now that everything seems digital, I find printing plausible.

MG: You rightly say that fingertips are the thing we have been using most for 10 years now, so it seems interesting to you to be able to create a work exactly with your fingertips. Apple’s tactile mouse becomes like an extension of our cave, of our “private dimension”. Where do we find this dimension in the other 3 works presented in Spain?

LR: The IMG series certainly refers to this private dimension where we can actually have fun seeing the videos of which the work becomes the exclusive passage. In “… plays …” the work manifests itself naturally in our homes. In “Black Mirror” the viewer is asked for a private and revolutionary gesture. And even in this case the video recorded internally on the black screens remains in your mobile phone. I consider our private dimension to be the only political space really left, a choice in this dimension is worth 10 or 20 times that of a head of state. That’s because I’m very interested in working, first of all, in this private dimension.