La Razon del Tercer Mundo

La Razon del Tercer Mundo (2014)

Cisalpine Overseas Bank Limited, prototype for a sharp frisbee

L’aquila, il condor e la colomba #2, prototype for gymnast weight

BGT08FP

BGT08FP (2008)

Video animation, 4:3 color, graphic model 3D Maya, 1’30”

I worked for three months as an artist in a company that produces sausages. This video is the summary of that path: reality that contains product is the same imploded in its raw matter.

B: untitled

B: untitled (2008)

Prismatic filter on Holga optic, colour lambda print on aluminium with white drawer frame
96 x 96 cm, Edition of 3

B is the visualization of a misalignment, a confusing state, it is the paranoid and obsessive return of the same mental elements, as if ordinary reasoning were able to express itself only through redundancy, the repetition of ideas in a reduced, fast and short-term memory.

Videos

Wanna Be (2010)

Video animation, 1.33:1 4/3 DV-PAL
Rotoscopyng, 36”
Music credits: Maurizio Bonfanti / Garage Ermetico

Effectiveness of the real estate system in the background of a Milan commuter.

Take me out tonight (2010)

Video animation, 16:9 DV-PAL
Rotoscopyng, 1’
Music credits: Maurizio Bonfanti / Garage Ermetico

I was looking for a solution for furnishing a 50m2 apartment. While sitting in front of the super-bright screen and behind the IKEA futon, a trolley with lamp’s pieces was on my right. I read Kobo Abe’s Man Box to get inspired by the need and the transportable bed that I was planning did not need me anymore. I just wanted to go out and take a ride around Milan by train without being seen, with someone that dragg me around. And so I did. I pretended to be a blob of light clothing while being dragged around by -. In his head, a new piece was burning, his steps became sad notes, and I was the woollen mattress.

Environmental horizon (2012)

Video animation, HDV 16:9
Rotoscopyng, 25”
No sound

If man realizes himself only in a civilized way, then, I decide, as Toni Braidotti, to place, instead of Leonardo’s man, a dog, and the relation with the animal instead of the one between male and female. This project is absolutely not urban.

I see the stars

I see the stars (2012)

Trampoline, drawings

The recognition that culture is, to a large extent, a sign configuration, immediately indicates that the transmission of culture takes place mainly through the transmission of signs from existing members of a society to young people or to those who come from other societies. By instilling to the members of a culture the designations, appreciations and prescriptions characteristic of such a culture, the society obtains its maximum control over the individuals. In fact, by inducing an individual to appropriate the interpersonal signs of culture, the individual ends up appreciating him/herself and others or giving himself and others prescriptions in original and proper ways of the society to which he/she belongs.
Meaningful symbols of culture allow the individual to put himself/herself in the position of the other members of that culture and to react to himself/herself according to those positions.

Behaviour manual

Behaviour manual (2011)

Gicléé prints on polythene paper, mounted on dibond, 40 x 27,2 cm each
Courtesy Spazio ALT – Alzano Lombardo (Bg)
Photo credits: Daniele Maffeis

I executed some exercises in a private collection with some contemporary art works. The project is the result of a process that brought me to deny my identity as an artist, instead, thinking about myself as a passive receptor of signals; an informed spectator.

The transfer of the illusion freed from the frame and the pedestal to the exhibition space transforms this arena of speech into a unified staging of objects in which the visitor can take a walk in the museum. The observer is split into eye and body, in which the former is, in a social and aesthetic sense, superior to the latter: the eye can be guided, but it is less complacent than the body, whose mobility is relative.
If the museum as a walk is a widespread spectacle, the exhibition is the death of the work. The museum as a walk and the walk as a museum are forms of indoctrination to the non-reaction, while the gymnastics at the museum, that is a form of more intense motor activity, is a form of rupture of the passive spectacle and it’s a form of disobedience. The physical and corporal education of the public represents the dawn of a new sacredness. In an aphorism, Nietzsche states: “A few hours of mountaineering make a rogue and a saint two quite similar creatures. Tiredness is the shortest way to equality and brotherhood.” In gymnastics, sight is at the expense of effort and prefers to the mediatic extensions of the eye (for example, the book) those of the motor arts (the foot). The visual man in our Western society, is a rational man: rationality and visuality have long been two and interchangeable terms, but we no longer live in a mainly visual world. Before the invention of writing, man lived in an acoustic space. The printed book, like the easel painting, fomented the new cult of individualism, while the Renaissance Vanishing Point systematically placed the viewer out of the frame. The instantaneous world of the electric means of communication involves us all immediately. No detachment or frame is possible. The electrical circuits recreate in us the multi-dimensional spatial orientation of the “primitives”. At the speed of electrical communication, purely visual means of understanding the world are no longer possible, and this also applies to the work: a visual fruition only bounces the eye as well as reaffirming a relationship from inferior to superior anti-democratic, whether it is a painting or a video. Television mediation creates our language, which we export outside the home. What remains original in those who watch TV is what is not verbal, for example, its physicality, its voice, its body. The ferocity of the old is found in the new tools of communication, ambiguous and skilful.
Physical activity, which in recent years has become one of the most conspicuous phenomena of post-industrial society, is considered as an aspect separate from aesthetic enjoyment, while in everyday life it has been increasingly asserting itself to the point of assuming a primary role. Yet man is created mainly through exercise, asceticism, training and stunts that he performs daily to rise from mediocrity. The vigorous “male body” of the athlete, present in the rich Greek sculptural culture alongside divinities, indicates a physical and psychic authorial relationship: a god was always a sort of sportsman and the athlete was a form of divinity. The emancipation of the visitor of exhibition spaces can occur through the body as a control center vigilante against signs in search of listening. To test an alternative behavior in the exhibition space as a gym, I also lay down next to the pigs in a work by Wim Delvoye.
The photographic examples in the collection of the former ALT Museum are demonstrative and not instructive.

Buren (progressive)

Buren (progressive) (2012)

Intern girl + flag with jumping rope
some seconds, 130 x 70 cm
photo credits: Davide Tremolada

An object presented on a set has not necessarily an established location, but is an actor itself, which can come in and go out in a non static way dependent on the will and conviction of those who carry “the flag”. Two female interns try to bridge the gap of official culture, taking off the object from the wall and using it to jump in the group show.

A spark in the suburbs

A spark in the suburbs (2013)

A couple of basketball backboards, 30x30x40 cm, 30x30x80 cm, a basket ball

The sphere inside the overturned pyramid (basket 1) is a holy enclosure that protects what is in the middle. The inverted triangle is also thought of as SHAKTI, the first fence of most yantras. Then comes not, the mistery of not (basket 2): two nots making an affirmation, a possibility, surrounded by another imprinting not, annihilating that possibility. The principle of tautology – the logical ability to say that this is this – was a fundamental logical truth that is not present in this writing. In a first version the two baskets were laid on a ROMBO OF HERRINCKS and on a concentric hexagon, mentioned by Jacques La Maya in La medicina dell’habitat. The witness of the two pyramids positioned in the field between the two was subject to the action of the two devices. The idea of this field refers to the UNIVERSAL PENDULUM (radionics) which, conceived by Chaumery and Debelizal, is based on the energies emitted by the spherical form.