Bourse de Commerce (Paris) > BEFORE OPENING > Luca Rossi

ITA/ENG

 “La Bourse de Commerce, closed in its perfect circle, covered by its impeccable dome, will be the place where the unpredictable can become obvious, the unimaginable real and the unexpected possible. A revelator of creation about to be realized and, therefore, a mirror of the world. “Jean-Jacques Aillagon (Director of Pinault Art Collection) 

 Luca Rossi has created an exhibition at the Bourse de Commerce in Paris before its official opening. The Bourse de Commerce will officially open on January 23th 2021 and will host the Pinault Contemporary Art Collection. The Luca Rossi project will be visible and can be visited in the documentation of the space that was released before its official opening.

 When the Jews had to flee their land they were forced to pass from the logic of the monument to that of the document. They were forced to decode God. Create a “transportable” device that would allow him to adapt to any conditions. The informations in the document allows a more articulated nature of the artwork, a sort of fibrillation between object, imagination, direct experience and mediated experience. 

 In the Italian contemporary art scene there is a figure of considerable interest. 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” all the roles of the art system melt and confuse, thus arriving at a substantial independence and self-sufficiency. The “critical process”, the virtual space of the Internet, and the real context no longer have boundaries and blend into one. Since 2009 Luca Rossi has been consciously manipulating information as if they were “clay” and developing an articulated nature of the work of art that lives on multiple levels.

 A PDF document will be the access key to visit the Luca Rossi exhibition at the Bourse de Commerce.

Request the PDF document to see Luca Rossi's project at the Bourse de Commerce in Paris

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After all, contemporary art can turn anything into money (even a banana..) through a document: the certificate of authenticity. After the modern and postmodern phase, it is no longer the content, the artwork itself, that is relevant but the system that supports it: places and public relations that guarantee the authentic value of the work.

If you think about it, even projects like Google, Facebook, Amazon, Apple, are disinterested in content. Google doesn’t care what we’re looking for; to Amazon what we buy; to Facebook what we write, to Apple what we do with computers and cell phones. We experience the disappearance of content because the viewer has disappeared in a sort of hybrid role: each of us is a producer and consumer of content.

Since 90’s with the transformation of art criticism into art curatorship, the artistic value of artworks increasingly depends by the places and public relations that support it. In other words, whatever Mr. Rossi (Mr. Smith) could officially exhibit in the Borsa de Commerce would be interesting and would have value. So why move and spend time and money to do it? To visit this exhibition you can remain motionless where you are, that is the same condition in which the author created this project (still where he is).

Luca Rossi’s exhibition can be visited in your private dimension by reading a PDF document. This does not mean that the exhibition is not engaging and can foresee exciting and unexpected moments.

 Each of us every day produces and consumes information that, on the one hand, risk suffocating and anesthetizing us and, on the other hand, determine what is “true” and “real”.

> CRITICISM, THE FIGHT, THE FUTURE: LUCA ROSSI 

 In the Italian contemporary art scene there is a figure of considerable interest. 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. Scroll down this page. 

Today individuals experience a sort of “non-experience” in the sense that they spend most of their time surfing the “network”, producing a “new memory-without memory” or a “passive and a-critical assimilation” into the system. Luca Rossi knows this well. He constantly reminds us of the history of art and ideas, of our past, of what it means to be critical and active, struggling to preserve one’s own authenticity and originality in the great McDonald that is our contemporary world.

Many curators and artists, both in Italy and Europe, have been following Luca’s work with great excitement. By now Luca is considered the only critical voice that “stands out” in the current Italian landscape.

It is worrisome that Luca’s work has yet to be recognized by institutions and organizations, despite receiving the acknowledgement of the public and many curators and artists. This says a lot about what the value that the Italian system places on the “real artist”. The Italian contemporary landscape has been dragging itself down for more than 10 years, producing artists who “copy and paste”, endless repetitions of projects signed by the same names, and decreeing the end of contemporary art. 

ARTFLIX > Request a site-specific “Luca Rossi” Art Project anywhere and on-demand > lucarossicampus@gmail.com

  MG: I just received the PDF document that allows you to “visit” your exhibition at the Bourse de Commerce in Paris before it officially opens its spaces on January 23, 2020. The PDF document takes us into an “imagined”, but absolutely real, exhibition. During these COVID emergencies it is even more evident how our perception of reality derives from a manipulation of communication. What is real?

LR: What you can experience for yourself is real. The exhibition in Paris is real because everyone can experience the reading of the PDF document. I see the manipulation of communication as the manipulation of clay. Like when I modified the press release of an exhibition from Massimo De Carlo in 2009 asking to order a pizza, from all over the world, to be delivered to the gallery.

MG: In previous projects like Senanque Abbey (2013), Rajm (2015), Thermal Refuge (2016), Black Mirror (2019) you (Luca Rossi like Mr. Smith in the Anglo-Saxon world) arrive in a place like any tourist. A sort of hybrid role where all the roles of the art system converge and overlap: artist, spectator, art curator, director of a space, collector of your vision, etc. What is the difference between that mode of operation and this of the PDF?

LR: I never act with premeditation. Also in this case I decided to do the project in a few seconds, as soon as I learned that this beautiful space would open in Paris on January 23, 2020. By the way, January 24 is my birthday. The mode of action is the same, in both cases there is a documentation that, like a matrix, allows you to “visit” a specific project suspended between reality, imagination, direct experience and mediated experience. 

MG: Luca Rossi was born in Italy in 2009 as a blogger who began to stimulate a critical sense of the dynamics of the art system and its contents (Evoluted Ikea, Young Indiana Jones Syndrome, etc.). Does this critical aspect also concern this PDF necessary to see the Paris project?

LR: The critical work started in 2009, and which continues today, has slowly generated the projects of Luca Rossi Lab. Each work, and therefore also the “Before Opening PDF”, contains all the critical work done.