Luca Rossi is an independent author 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,and “the new Vanessa Beecroft” by Giacinto Di Pietrantonio. 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”.
More information: whiteblog.rossi@gmail.com / +39 3478864509
LUCA ROSSI 2009 > 2021
art – critique – new education
massimo de carlo – mart rovereto – gagosian gallery ny – whitney museum – zacheta gallery – versailles – senanque abbey – venice arsenale – gamec bergamo – serpentine gallery – new museum – boros collection – tate modern – prada foundation milan – hotel helvetia – on the moon – smach 2017 – quirinale palace – maat – venezia gardens – marino marini museum – louvre abu dhabi – T293 naples – national gallery of scotland – sandretto re rebaudengo foundation – manifesta 12 – bocs arte – gagosian rome 2019 – venezuelan pavilion – venice biennale 2019 – ICA milan – SIX milan – prada foundation venice – la fondazione roma – palazzo strozzi – bourse de commerce paris – rinomina paris – blenheim park and gardens – bologna city centre –
> CRITICISM, THE FIGHT, THE FUTURE: LUCA ROSSI > Italian Below
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.
“Luca Rossi” was born in 2009 from the severe critical context that he himself triggered. “Evolved Ikea”, “Young Indiana Jones Syndrome”, “Smart-relativism”, “Grandparents and Parents Foundation”, are just some of the keywords around which Luca Rossi has been developing a daily critical work. Critical concepts that affect an entire generation of artists forced to confront a century as dense as the twentieth century. This critical work has allowed him to anticipate a fusion and confusion of roles that we can now see very well in a role that we could define as “spectauthor”. Luca Rossi’s unconventional projects arise from a manipulation of information that is treated exactly as if it were clay to be moulded, long before the concept of “fake news” became so important in the public debate. The nature of his works experiences a fibrillation between imagination, conventional object, direct experience and mediated experience.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.
LA CRITICA, LA LOTTA, IL FUTURO : LUCA ROSSI
In Italia, c’è una figura di notevole interesse nel panorama dell’arte contemporanea: Luca Rossi, artista/collettivo critico, curatore, blogger, personaggio controverso che lavora anche con l’anonimato, una sorta di Anonymous del Sistema dell’Arte (dove l’ego sembra non esistere più e dove chiunque può essere Luca Rossi), dove “processualità critica”, spazio virtuale (quello creato da internet) e quello reale sembrano non avere più confini e mischiarsi in un tutt’uno.
Oggi giorno l’individuo esperisce una sorta di “non esperienza”, nel senso che la maggioranza del suo tempo viene speso nel navigare nella “rete” e molto di questo lo sta portando ad una “nuova memoria-senza memoria” ad “un’assimilazione passiva e a-critica” e questo Luca sembra saperlo davvero bene. Luca ci ricorda i riferimenti storici ed artistici, il nostro passato, cosa vuol dire essere critici e attivi, lottare per mantenere una propria autenticità e districarsi in un mondo che ha più l’aspetto di un grande Mc Donald.
Ci siamo stupiti di quanto Il lavoro di Luca sia seguito da molti curatori, artisti anche in Europa, molti dei quali scappati dall’Italia. Luca è considerato l’unica voce critica fuori dal coro per il panorama attuale italiano.
La cosa preoccupante è che Rossi, nonostante il suo lavoro sia ampiamente e verbalmente riconosciuto, non venga ancora considerato da istituzioni e realtà italiane. La cosa è emblematica e la dice lunga su cosa vale in Italia rispetto all’essere dei “veri artisti”.
Un panorama italiano che si trascina da forse più di 10 anni, portando artisti “copia ed incolla”, ripetizioni infinite di progetti con sempre gli stessi nomi, decretando implicitamente una fine dell’arte contemporanea.