Documento senza titolo
CENSORED SHOW, Ravenna, Italy 2010
ALL MY FRIENDS ARE DEAD
Bandjoun / Cameroon 2009
New York 2009
I WOULD PREFER NOT TO
Manifesta 7 Rovereto 2008, Shanghai 2007, Milano 2005
SOMETIMES YOU MUST BREAK THE RULES
NIGHT TALK OF THE FORBIDDEN CITY
THE AESTHETIC OF DRUGS
Taipei 2008, Reggio Emilia 2007
New York 2006
NO THINK NO PLAN NO SLEEP
IF YOU HEAR SOMETHING, SAY SOMETHING
New York 2006
New York 2006
WAITING FOR THE TSUNAMI
Shanghai 2007, Moscow 2006,
I WOULD PREFER NOT TO
a love story set on Google images
Prometeo Gallery, Milan 2009
If you can read this thank a veteran
another guinness world record
people, object and landscape
Best of acoustic youtube #1
Art in America
The relationship, both passioned and obsessive, which the group developed in a daily engagement with the web provides the backdrop of this project.
For months the artists lived on Google-images and on different search engines appropriating the experiences and memories of other users with whom
they shared a collective imagery in a continuous expansion and which is beyond control. Their exploration led to a reflection on the “web 2.0” aesthetic
wich is self-propagating within the world wide web and changing our way of knowing and perceiving the world. The artists have stated about this exhibition that:
“We spent hours surfing the net among thousands of images each day. We began to think that every smile, every glance we encounter might be intentionally
dedicated to us. We bacame aware of living a shared intimacy in which small gestures and memories reproduce themselves ad infinitum and offer themselves
to many without losing their freshness. Through the net we become closer to the other without intrusion and we can share with him a visual universe of
unimaginable dimensions, a pulsating and vital place with which we are all madly in love with”.
The exhibition will feature paintings, sculptures, an installation of slide-projections, and a 16 millimeter film. For the entire duration of the show’s opening
the performance If You Can Read This Thank a Veteran will as well be held.
The project also includes the performance We got There and There Was Only Smoke, produced in collaboration with the Icelandic artist Ragnar Kjartansson
that will be presented for the first time at Performa09 in November in New York.
In this exhibition, something strange occurs each time. Something that disconcerts the image. It is the sign of some essential uncertainty, preventing form from taking shape.
But it also undoes the subject, casting it aside.
Characters who live on nothing come into being, and they survive only in the void, preserving their mystery and defying logic and psychology right to the very end.
If they have a formula, it is certainly not explanatory. I PREFER NOT TO remains just as much a cabalistic formula as that of man, who cannot prevent two and two from making four, but who will not RESIGN himself to it either. The artist has the eye of a prophet, not the vision of a psychologist.
If man is the brother of man, and if he is worthy of "confidence", it is not because he belongs to a particular nation, or because he is an owner or stakeholder: it is only as a man, when he has lost those aspects that constitute his "violence", his "idiocy", and his "baseness", when he has lost all consciousness of himself, other than under the signs of "democratic dignity" that considers all peculiarities as stains of ignominy, which arouse only distress or compassion.
We - the users of the web - are not a closed tribe of men with a national identity, like that of those whose blood has been debased in an attempt to ennoble it, closed in on itself in marriages between those of the same race...
More than a nation, we are a world. We must be able to recognise the entire world as our family founder, for otherwise we will find ourselves with neither father nor mother...
We are the heirs of all ages, and we share our inheritance with all nations... Not even a puzzle, whose pieces would fit together to constitute a whole, but rather a wall of loose, uncemented stones, in which every element has value in itself but also in relation to others... isolated and floating groups, islands and straits, immobile points and sinuous lines - for Truth always has "jagged edges".
Not a skull, but a line of vertebra - a spinal cord. Not a uniform but a Harlequin's cape, a never-ending patchwork and a multiple coupling. But to reach this point, it is also necessary for the knowing subject, the sole proprietor, to give way to a community of explorers, the brothers of the archipelago, who replace knowledge with belief or rather with "confidence".
Not belief in another world but confidence in this one.
painting & photomontage videos sculpture #1 sculpture #2 sculpture #3 sound
There is no difference anymore between riot and the sale of insurance contracts, frontal collision, shut down and trainers, everything is used, everything becomes a useful tool to produce and open up new market areas.
The appropriation by the collective, of the image of social production, has always fed the adverstising business and industry. For example, one can think of Nike's economic fortune raised through marketing the manners and behaviour of the black ghetto, exalting this aspect in the commercials and continuing to sell them their products.
The Marketing regime engulfs everything and everybody, through television, through the language of advertising, digesting the notion of rebellion, contestation, and taunting; appropriating their values, yet pursuing its only purpose: to create faithful consumers.
There seems to be no escape from this game, in which, for instance, a multinational company like Burger King feels no shame in publicizing its' new Onion Rings with the claim "sometimes you must break the rules"; but this too is an old trick.
The mass culture created in the 60's inaugurated the transformation of the consumer's role, from that of the participating/active user to that of the passive spectator, today reduced to the 'tele-viewer', for whom riot scenes in city squares and quiz shows follow indifferently on the television screen, without creating any upset within the reassuring domestic walls.
The conflicts are resolved with the use of irony which proposes a simple game to be understood and of which one may easily become an accomplice, drawing fulfilment in being part of the rhetorical trick, understand the story told, where everything becomes a joke, a gag.
Reading into advertising communication carefully allows us to discover some of the mechanisms that build consensus; that of neutralising conflict, that of flattening all positions.
The work wants to map out television language, identifying the proceedings for contextualising, in our turn, the production of advertising imagery, trace other coordinates, collective pathways and memories.