A trash bin, an intermittent warning light, MAAT of Lisbon, Luca Rossi 2017.

A video presents a three-dimensional version of the famous Black box painting by the artist Kazimir Malevic. At the same time, we notice an intermittent red light that seems to question the elimination or retention of objects that visitors to the museum decide to throw away. With his pictorial work Malevic wanted to point to “pure artistic sensibility” as something detached from specific pictorial shapes and objects.

The approach of the trash bin and the warning light seems to question the things and objects we want to get rid of. A kind of antibody for the “LIKE Dictatorship” and for the algorithm that always proposes things and information conforming to our tastes. In this way, contemporary man never knows anything really. We only have an accumulation of information and things, but the fat doesn’t have anticopers to stop a process that suffocates and deprives critical meaning. No immune defense can hinder the proliferation of the Same.

In the encounter with the Other and the Different there is a trauma and discomfort that causes knowledge. Its essence is pain. But the Same doesn’t cause pain. Pain today gives way to “I Like”, which is a continuation of the Same.

If Jenny Holzer wrote in his work “Protect me from what I want” in this case, we can say, “Let me reevaluate what I don’t want.”

Luca Rossi is an artistic collective for which anyone can be “Luca Rossi”. In this way everyone is stimulated to a new sense of opportunity and responsibility. Luca Rossi started the blog Whitehouse as a platform for art criticism, information, and art-related projects in 2009. A better synthesis of the blog could be found on : www.lucarossilab.it. Major representatives of the art world have participated in the blog, contributing to its popularity. Luca Rossi has written in social networks and specialized magazines like “Flash Art”, Artribune.com, and Exibart.com with lucid criticism and originality.

Luca Rossi was defined “the most interesting personality” in Italy by Fabio Cavallucci, Director of Museo Pecci in Prato (Exibart.com, 2010), and “the new Vanessa Beecroft” by Giacinto Di Pietrantonio, Director of GAMeC Museum (Artribune.com, 2013). In 2011 Alfredo Cramerotti (curator of “Manifesta” and Museum Director Mostyn, Wales) wrote: “To be honest, I’m not Roberta (a 2011 project by Luca Rossi) made me think more than dozens of other projects I have seen “live”.”

The text has been translated from Italian into others languages 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 Black Square on a white background of Malevic imposes itself as the most extreme and ‘absolute’ attempt to return to pure artistic sensitivity disconnected from any form and object.

Art acquires meaning from the moment it reveals the deep truth of the world without object. His poetry is therefore characterized by a mystical mystical tension, linked to an utopian vision of revolutionary renewal of society.


Black square, 1915, flaxseed oil, 79.5 x 79.5 cm


“For supremacy,” wrote Malevic, “I mean the supremacy of pure sensibility in art. From the point of view of suprematists, the external appearances of nature offer no interest; Only sensitivity is essential. The object itself does not mean anything. Art comes with suprematism to pure expression without representation. ”

The work of art is born from this “pure” sensitivity and from the position of a simple visitor. The light emblem seems to question both the value of the object as well as the need for its elimination or conservation. In other words it seems to question our “critical meaning” in eliminating anything from our pocket as well as from our head.

We live in a way that an algorithm tends to continuously propagate things and information that we like. We continually nourish ourselves. Technology and social networks make this “personalized binge” even easier, where information accumulates without creating “knowledge” but forming an adipose layer. Fat, unlike viruses, does not create antibodies, but increases until it breaks down. Pain now gives way to “I like” that is a continuation of the same and an infinite mirror in ourselves. The only act to change and improve our lives is disobeying ourselves, meeting and accepting the Different and the Other.

Within the MAAT of Lisbon (Museum of Art, Architecture and Technology) Malevic’s painting becomes, in the three-dimensionality, a minimalist bin for junk. The bin, always loaded and downloadable, contains the waste of visitors, that is, those objects that perhaps represent the “zero” degree of “work of art” in the minds of visitors. Things that are out of the “wish list” the algorithm has prepared for us. The things we throw away represent the Other and the Different. The light empties this “elimination” within Malevic’s three-dimensional work.

Malevic’s supremacy saw in the total questioning of the object a real political and social utopia. After 100 years, the nature of the object, like artwork, experiences a fibrillation between direct experience and imagination, mediated experience and real objects. The subject is constantly being questioned. If we were able to reconsider our needs, it could change the concept of “crisis”, whether economic, political, social, personal or private.

Throwing out something, in the end, is the opposite of posting content on Facebook. But the result is the same, a sort of vacuum.

The definition of “creative gesture” given by Gilles Deleuze and then completed by Giogrio Agamben, sees artwork as the “result” of an act of resistance that the artist does towards himself. If anyone can be Luca Rossi, anyone can hold Luca Rossi. From this resistance arises the artist’s “style” of humanity. In the work of art, as in life, it is worth the “fact” as well as the “not made”, the one we waste and throw in the garbage.

If modern states are only able to achieve floating policies, without ever having to change accidents, the only remaining political space is our private dimension. In this private space is “installed” the work that lives a fibrillation between object imagination, mediated experience (the video) and direct experience (a visit to the museum).