.

.

GOLD 

two identical copies of a personalized art piece, critical text about the personalized art piece, Bourse de Commerce 2021. > Click Here To Customize Your Art Piece

Imagine. Let yourself be surprised. Personalize an art piece by choosing three artists to bring together in the same art piece. Only two identical copies of the art piece will be made: one will be shipped to the Bourse de Commerce in Paris and one to your home. The art piece sent to the Bourse de Commerce will enter the building but then get lost: in the warehouses or at the home of some caretaker. However, it will enter one of the temples of the contemporary art market. Everything that enters this place can become “gold”.

At the same time your home will become like a museum where you can store your personalized art piece and its value. In fact, every modern or contemporary artist you choose has a concrete “value” for our life. Together with your personalized art piece you will also receive a text that presents the value of the artwork.

In a art market that offers only predictable artworks that we can even see before they are exhibited, GOLD invites you to be surprised. In a market where the value of the artworks depends only on how high their price is, GOLD offers works at low prices and a critical text that will make their value clear and evident regardless of the price.

ITA / ENG

As no doors > Luca Rossi Solo Show >> Bourse de Commerce (Paris 2021) >>> 5 interventions that question the definitions of Museum, Artist and Artwork > more information about Luca Rossi Project at the bottom of this page

AS NO DOORS starts from the realization that the roles of author and spectator have lost defined characteristics and have merged and confused. In 2009 “Luca Rossi” was born from this intuition. This project by Luca Rossi starts in the images of the exhibition space released BEFORE the official opening of the Bourse de Commerce, and continues indefinitely.

Scroll down this page to discover the other 4 interventions at the Bourse de Commerce. 

.
.
.
.

 

 

.

If you don’t understand something search for it on YouTube

various material, Bourse de Commerce 2021.

In this case, the work is installed in an image that precedes the official opening of the museum and refers to the first official opening date, January 23, 2021 (23 -01), then extended. The work is the exclusive gateway to a sort of Sistine Chapel which is updated daily and capable of “training new eyes”. In fact, every day in the world new videos are made which are then uploaded to YouTube without specific titles. So if we search YouTube for IMG and any combination of 4 numbers, we find a different and bigger list of contents every day.

Not only can anyone participate in this work (by making a video and uploading it to YouTube with the title IMG 2301) but this work also represents a form of resistance to the internet algorithm that would like us to feed only with “things equal to ourselves ”And conform to our tastes. On the contrary, the contents to which the work leads are completely unexpected and in daily change. Today’s work will be different from what we can see tomorrow or in a month. A very significant motionless mobility in a time when we tend to experience motionless things in front of our mobile.
.
.
.
.
.

.
.
.
.
.
.
.
.
.
.

 

.
.
.
.
.
.
.
.
.
.

 

.

 .

By left hand fingertips (1) (2) (3)

saliva and dust on your screen, various material, Bourse de Commerce 2021.

In these interventions we see two sculptures installed with fingertips inside the Bourse de Commerce. The sculptures with fingertips, which Luca Rossi has been making since 2009, represent a primordial and primitive contact with the surface of our cave which, from Apple’s tactile mouse, extends to our screen. These works exist only when we look at them on the screen and anticipate the philosophy of the NFT by 5-6 years.
.
.
.
.
.
.
.

.

.

Any items

any items purchased on Amazon, art limited edition to 20 copies, Bourse de Commerce 2021.

In this case, Luca Rossi’s work is represented by whatever the viewer chooses on Amazon. The artwork purchased on Amazon can be delivered to the Bourse de Commerce in Paris or intercepted on the doorstep of the museum by the buyer who would become a collector of the artwork itself. This intervention carried out in collaboration with the RINOMINA space in Paris also allows you to purchase a certificate of authenticity that proves that the purchased artwork is part of a limited edition of only 20 copies. Click here to join the project.

“Any items” goes beyond the concept of ready made putting the collector and the viewer in a “condition of embarrassment”. The collector-spectator must in fact choose his artwork by re-evaluating his own needs in relation to the concept of a artwork. His choice will have formal and conceptual consequences that are completely unpredictable and out of control. But it will be his choice. Somehow the artwork will blend in with the buyer’s everyday life as it does not represent the “imposed-proposed” choice by an external author.

ABOUT LUCA ROSSI

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”.

LUCA ROSSI 2009 > 2021

massimo de carlo – mart roveretogagosian gallery nywhitney museum – zacheta gallery – versailles –  senanque abbeyvenice arsenale – gamec bergamo – serpentine gallerynew museumboros collection – tate modernprada foundation milanhotel helvetiaon the moon – smach 2017 –  quirinale palacemaat – venezia gardens – marino marini museumlouvre abu dhabi – T293 naples – national gallery of scotland –  sandretto re rebaudengo foundationmanifesta 12bocs arte – gagosian rome 2019venezuelan pavilionvenice 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 

 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.