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sunlight, a house, dim. variables, Luca Rossi 2011 – 2020.

This work was presented for the first time in 2011 in Warsaw in a closed gallery, just before the official installation.

I like how the collector, who bought the work in 2011, must keep a wall of his house completely empty today. He has had to manage this vacuum for 9 years. In fact, the work appears during the day at certain times of the year when it is sunny, and then at night it disappears, punctually. This work is probably already in your home right now.

Thinking about collecting not as accumulation but as subtraction: an empty wall, waiting for the work. But also a form of ecology with respect to a continuous pollution of works, contents and information of which we are all producers and consumers. A vacuum management very similar to the existential exercise to which the quarantine forces us. While the paintings in the IMG series manage and manage this huge production of content, in this case a break is suggested, a moment of decompression.

In contemporary art, in the absence of a vital critical context, works tend to be made of a material made of places and public relations. The last paintings by Damien Hirst , even if they badly mimic impressionism, exist, have visibility, have a price because of the noble places and the public relations that will support them. We can say that they are mainly made up of “places” and “public relations”.

If we think of the sun’s rays as relationships between people, here the work, the picture of light, appears when it encounters a place, when it meets our houses in this quarantine. In other words, the work of art is already at home, it has always been at home since 2011. This is because it consists of our ability to have “new eyes”. Here is a work of art to present during this period of emergency and which is already magically found in our homes. And this without moving from where we are.

But the difficulty and discomfort that the work triggers in the collector and in the public represent a form of fundamental fitness for training “new eyes” and knowing how to adapt to this emergency as to the new world of tomorrow. Perhaps “trained eyes” would also have been useful to prevent and prepare for all this.

In reality, the work that is made of places and public relations hides a void which is precisely represented by the “empty wall” that the work leaves behind each evening. Only a vital critical context and a continuous dialogue between artists, audience and critics can make the work reappear. Arguing, highlighting and promoting the reasons and motivations of the work of art allow the work to reappear. Damien Hirst’s own paintings reappear in a truer form after my criticism. The paintings of light exist in your home after this critical text of mine.

I am interested in how this work tries every day to creep into the house, and how our micro dimension of the house must enter into relationship with the macro dimension of the universe.

The preparation of this work is always a beautiful experience. You have to spend a day at the collector’s house or in the museum, you have to understand how the sun turns, you have to choose a wall to keep empty.




rays sunlight, a place.

Zacheta Gallery, Warsaw 2011.

Without a real critical comparison, works of art tend to be made of a matter made up of places and public relations, like rays between points. Light frames are formed according to the relationship between micro and macro cosmos. The work involves the maintenance of an empty wall and the verification of movements of the sun.