To eat or not to eat
To eat or not to eat
Forest desolation
Forest desolation
Life is a trip
Life is a trip
Peace will come
Peace will come
Water Wars
Water Wars
Terror Stock Exchange
Terror Stock Exchange
We have other fish to fry
We have other fish to fry
Selfish Selfie (I wanna post it on Facebook)
Selfish Selfie (I wanna post it on Facebook)
It never rains but it pours
It never rains but it pours
The Great Flood (Paradoxically 2015-2016)
Digital Photography, Political / Social, Computer graphics, 250x101cm
Paradoxes and other adventures of contemporaneity
Critique by Gigliola Foschi
Marco Guenzi is explicitly tackling the contradictions, the dramas and the absurdities of our contemporary world. We are afflicted from all directions by news, events, behaviors, advertising and whatnot. But how to react to this deluge of information without turning our head away in order to not see or without getting caught up by anguish or by depressive helplessness?
Marco Guenzi, artist, economist, lecturer and web designer, chooses to react through a bitter, paradoxical and disorienting laugh. He composes his artworks collecting images from the web and reassembling them narrowly, so to compose a collection in which photographs, titles and text notes, sometimes concealed (to be read up close and carefully), put in relation contrasting, strident realities, that make you falter over obvious and reassuring explanations. Are you frightened by Stock Exchange fluctuations? He proposes the work "Terror Stock Exchange", where the NASDAQ Al-Qaeda’s shares grow reassuringly 5,6% per year and the IRA’s shares boost returns up to 7,8% per year. Barges and makeshift rickety boats full of refugees move you to piety or make you cry out because of the invasion of our coasts? It does not matter,– as he shows in "The Great Flood" – such barges are now organized to slip and slide on the snow as sledges and precipitate towards the plain from the white peaks of the Alps, or rather they can remain stuck on the mountain summits, like Noah’s Ark on Mount Ararat.
Imagination underlying his oeuvres commits us to an extremely serious game, where laughter becomes an unbearable paradox for the authoritative and self-assured reason. “The comic is a contradiction” – wrote Kierkegaard. “Laughter is a leap from possible to impossible and from impossible to possible” – closely continues Bataille. The tragicomic humor, inasmuch serious negation of seriousness, indeed opens the world to a double and paradoxical thought that shakes our confidence. Transgressive, overwhelming, sometimes grotesque, his images bear the heavy burden of our apprehensions, and reverse them by means of a uncanny laugh, open to new adventures of sense, to an act of thinking beyond what is already known.
Critique by Gigliola Foschi
Marco Guenzi is explicitly tackling the contradictions, the dramas and the absurdities of our contemporary world. We are afflicted from all directions by news, events, behaviors, advertising and whatnot. But how to react to this deluge of information without turning our head away in order to not see or without getting caught up by anguish or by depressive helplessness?
Marco Guenzi, artist, economist, lecturer and web designer, chooses to react through a bitter, paradoxical and disorienting laugh. He composes his artworks collecting images from the web and reassembling them narrowly, so to compose a collection in which photographs, titles and text notes, sometimes concealed (to be read up close and carefully), put in relation contrasting, strident realities, that make you falter over obvious and reassuring explanations. Are you frightened by Stock Exchange fluctuations? He proposes the work "Terror Stock Exchange", where the NASDAQ Al-Qaeda’s shares grow reassuringly 5,6% per year and the IRA’s shares boost returns up to 7,8% per year. Barges and makeshift rickety boats full of refugees move you to piety or make you cry out because of the invasion of our coasts? It does not matter,– as he shows in "The Great Flood" – such barges are now organized to slip and slide on the snow as sledges and precipitate towards the plain from the white peaks of the Alps, or rather they can remain stuck on the mountain summits, like Noah’s Ark on Mount Ararat.
Imagination underlying his oeuvres commits us to an extremely serious game, where laughter becomes an unbearable paradox for the authoritative and self-assured reason. “The comic is a contradiction” – wrote Kierkegaard. “Laughter is a leap from possible to impossible and from impossible to possible” – closely continues Bataille. The tragicomic humor, inasmuch serious negation of seriousness, indeed opens the world to a double and paradoxical thought that shakes our confidence. Transgressive, overwhelming, sometimes grotesque, his images bear the heavy burden of our apprehensions, and reverse them by means of a uncanny laugh, open to new adventures of sense, to an act of thinking beyond what is already known.
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