If the modern period looked for the innovative principle, the postmodern the original remix, the problem of the altermodern is to manage an over production of information. Information about which we can not make the critical differences. An algorithm, as for the dictatorship of “I like”, always offers us things “that we like” and equal to ourselves. We live within uncritical bubbles where we engage with things that we like and that are already the same as ourselves. How to get fat do not grow.
“Fake news” is a yellow container positioned outside the National Gallery of Modern art of Scotland. We can not say whether it is or is not a work of art. We should open it. But we can not. The caption can not disappoint us: it contains 7800 packages of Amazon and 7800 artworks. Even a fake news, at the bottom, is a news if we do not have the ability to manage information and make the differences between “what is true” and “what is not true”.
And even if the container is open, the problem arises of how to experience 7800 packages and 7800 artworkst. 15,600 things to manage.
So many things, just like the many videos that are uploaded every day on YouTube. Videos that are not given specific titles but to which the smartphone attributes a consequential title: IMG 3733, IMG 3738, IMG 3739 and so on.
Videos with very few vosualizations and that would remain hidden. The second artpiece exposed (If You Don’t Understand Something Search For It On YouTube) invites the spectator to a minimal action otherwise the artpiece is deliberately inaccessible.
The artwork you see installed in the lawn of the gallery of modern art, is a sort of antibody respect the algorithm that would always propose “things that we like”. Every day, every hour the artwork changes and proposes a totally unexpected video playlist, able to make us visit many continuously growing micro-universes.
Con i polpastrelli della mano sinistra (by the fingertips of the left hand)
various material, 2018.
The arrival of information always poses us, willy-nilly, in a sort of immobile nomadism. We know everything about the world, or at least we believe, but we can remain motionless, and in any case it would be impossible to experience everything. When we inform ourselves, we are raping ourselves.
The third work by Luca Rossi is a large sculpture made by the fingertips of the left hand. Motionless in “our cave” we move by the fingertips on the tactile mouse of Apple. The artwork is a sort of “black hole” that has sucked up all the processes that go from lighting up the artist’s studio to the last spectator coming out of the museum.
Opera and spectator are always in the same place and at the same time, the artwork takes place in an instant. An immobile nomadism where artwork and spectator are very fast (because always in the same place and at the same time) but also immobile.
Luca Rossi’s YELLOW exhibition is in Edinburgh, but this is not so relevant today. It is as if it is installed in our private and silence dimension, where we are now. After all, contemporary policies can only make floating choices. The individual’s choice counts 10-20 times that of a head of state.