DiE MaUeR
Mauro Moriconi
Today, pretty much everything is a fake. Or it can easily become one, thanks to opportunities supplied by readily available technologies for photo and video manipulation. Particularly with the help of well-established formulas regulating relations and social statuses that are used and discarded as identity “prêt-à-porter” garments, not only in reference to the so-called sub-cultures conveyed by main stream communications but also to the more rarefied and exclusive milieu of arts and politics.
Thus, fabrication takes place, in lieu of reality, in a discontinuous series of inventions that concern only a circumscribed assemblage of authors and spectators, artificial nuclei that, through clever camouflage, maintain their self-sufficiency, or internal logic, and stay blind of all those factors that could shred their colored sky made of paper and plastic.
Mauro Moriconi explores the folds of this make-believe world and works on its pointless substances and the collapsing of its structures. His tools are the same that are employed by many to mystify reality; however, the same digital technologies are used by the artist to actually expose the deception. His digital manipulations pursue the esthetics of the error, of the fault, of that mistake that denounces his intolerance toward adulterated reality.
It is such an attitude that distinguishes Moriconi’ s quest across a landscape saturated by the emergence of artistic talents and phenomena, all aiming to unsettle with outlandish inventions, the novelty at all costs at overwhelming speed.
Mauro works on the medium to differentiate himself from the message (quite in opposition to McLuhan assumptions). The photos printed on aluminum or the evanescent presence of the geishas of Tokyo high-tech sceneries hint at a plausible condition, albeit improbable, where our senses oscillate and are amplified by the way the tool is indeed utilized. The incisions, where applied, reiterate a point of view intending to refute fictional classifications.
The scenarios contemplated by Moriconi have the alienation power mostly expected from of a Brecht novel; bringing the observer to place him/herself at the outside, demanding a critical approach necessary to deconstruct the artwork, isolate its processes and then finally reconstruct the narrative phases. Similarly, this critical sense that interweaves the artist’s career seems to be a fine guide during the more subtle oeuvres, sometimes running the risk of being somewhat formalistic but usually brilliantly resolved.
On last thing must be said: behind the conventional exteriors, under the patina of virtual mishmashes; reality still exists. The artist points to it and tells you that it is as exciting, irritating and unpredictable as ever but nonetheless impossible to reduce it to a finite series of possibilities…
Pietro Gaglianò
Today, pretty much everything is a fake. Or it can easily become one, thanks to opportunities supplied by readily available technologies for photo and video manipulation. Particularly with the help of well-established formulas regulating relations and social statuses that are used and discarded as identity “prêt-à-porter” garments, not only in reference to the so-called sub-cultures conveyed by main stream communications but also to the more rarefied and exclusive milieu of arts and politics.
Thus, fabrication takes place, in lieu of reality, in a discontinuous series of inventions that concern only a circumscribed assemblage of authors and spectators, artificial nuclei that, through clever camouflage, maintain their self-sufficiency, or internal logic, and stay blind of all those factors that could shred their colored sky made of paper and plastic.
Mauro Moriconi explores the folds of this make-believe world and works on its pointless substances and the collapsing of its structures. His tools are the same that are employed by many to mystify reality; however, the same digital technologies are used by the artist to actually expose the deception. His digital manipulations pursue the esthetics of the error, of the fault, of that mistake that denounces his intolerance toward adulterated reality.
It is such an attitude that distinguishes Moriconi’ s quest across a landscape saturated by the emergence of artistic talents and phenomena, all aiming to unsettle with outlandish inventions, the novelty at all costs at overwhelming speed.
Mauro works on the medium to differentiate himself from the message (quite in opposition to McLuhan assumptions). The photos printed on aluminum or the evanescent presence of the geishas of Tokyo high-tech sceneries hint at a plausible condition, albeit improbable, where our senses oscillate and are amplified by the way the tool is indeed utilized. The incisions, where applied, reiterate a point of view intending to refute fictional classifications.
The scenarios contemplated by Moriconi have the alienation power mostly expected from of a Brecht novel; bringing the observer to place him/herself at the outside, demanding a critical approach necessary to deconstruct the artwork, isolate its processes and then finally reconstruct the narrative phases. Similarly, this critical sense that interweaves the artist’s career seems to be a fine guide during the more subtle oeuvres, sometimes running the risk of being somewhat formalistic but usually brilliantly resolved.
On last thing must be said: behind the conventional exteriors, under the patina of virtual mishmashes; reality still exists. The artist points to it and tells you that it is as exciting, irritating and unpredictable as ever but nonetheless impossible to reduce it to a finite series of possibilities…
Pietro Gaglianò
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