RINOMINA (Paris) > PRIME > Luca Rossi

PRIME > Anything purchased on Amazon

limited edition in 20 copies, anything purchased on Amazon, collector’s action at the Bourse de Commerce, 2021

Order anything on Amazon and have it delivered to the Paris Bourse de Commerce at 2 Rue de Viarmes, 75001 Paris. At the time of delivery, be on the doorstep of the museum and pick up your package.

Open the parcel, send us a photo of the object and we will send you a certificate of authenticity proving that the object is part of a limited edition work of art by Luca Rossi. The certificate will be issued in only 20 copies. Each certificate costs 100 euros and can be purchased on this page through PayPal.

Certificate Shipping Address

EXAMPLE OF THE CERTIFICATE THAT THE BUYER WILL RECEIVE AT HOME

In the last 20 years, the management of information (production, consumption, manipulation) assumes a predominant role so that each of us can find, buy and create the content we want.

For this reason, the conventional role of spectator loses its defined characteristics to converge into a hybrid role where all the roles of the system merge and get confused: artist, spectator, curator, critic, press office, up to collector of one’s own vision. Luca Rossi represents this fusion and confusion of roles: anyone can be “Luca Rossi”. 

Google, Facebook, Amazon and Apple are not interested in content. For example, Amazon is not interested in what we buy, Google is not interested in what we search for, and Apple is not interested in what we do with our mobile phones. In the world of contemporary art, too, anything can be interesting these days, and what gives value to the work are the places and the public relations that support it. So in this case too, it is the system around it that counts. 

This is why Luca Rossi chooses to radicalise this condition and go beyond the concept of the ready-made. Any object can be part of a limited edition of just 20. 

The object chosen directly on Amazon by the buyer will obviously blend into the private dimension of the collector. Usually, a work of art is always a “message in a bottle” that the artist leaves in the collector’s home. In this case it is not, because the work has been chosen directly by the buyer. The work of art camouflages itself in the interstice of solitude and silence of which Gilles Deleuze speaks when he says that people do not need to express themselves, they do it too much; but they need interstices of solitude and silence to finally say something true. What is true in a condition in which the truth of facts corresponds more and more to the way in which those same facts are communicated? 

We are forced to express ourselves at all costs, otherwise we exist a little less. We could say ‘post therefore I am’. But this communication takes place in a small room with 100 other people talking at the same time, and thus amounts to a form of dictatorship in which nothing can be communicated and nothing can be understood. Gilles Deleuze also speaks of the creative act as an act of resistance: Luca Rossi resists, deciding not to create anything and leaving the choice entirely up to the buyer of the work of art. This work therefore represents a form of resistance to a devious dictatorship that places us in a condition of suffocation and anaesthetisation caused by the information overload of which we are all producers and consumers. 

As in the first intervention (IMG 2205) Luca Rossi resists the creative act and determines an “ecological” system of awareness around the work. In both cases the final contents of the two interventions are completely out of control and unexpected for the artist himself. After all, in the videos we see following the title of the first intervention, we already find everything: art, life, performances and completely unexpected works of art. Just as on Amazon, anyone can choose the thing they prefer. 

In the first case a way is suggested to purchase the contents that are already produced in the world in an abnormal way, while in the second case the artist decides not to compete with the possibility of totally customising the content, an overload of information that only gives us the feeling of being able to express ourselves freely at any time.  Precisely because this possibility of expression is nowadays equivalent to talking in a room with 100 other people at the same time. The risk is not to be able to grasp anything, and be enabled to communicate anything. Faced with these two dangers, the artist must bring a new awareness into play.

“The problem is not to permit people to express themselves, they do it too much; rather it is necessary to provide for them interstices of solitude and silence so that they can finally say something true.” Gilles Deleuze

Luca Rossi

> 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.