Exhibitions, Italy, Mantova, 06 October 2012
Fractured Icons-performance in the context of the Giornata del Contemporaneo, Casa del Mantegna, Mantova Italy.
The FI performance, specifically designed for the day of Contemporary Art, is built on some preliminary considerations regarding the representation and reproducibility of the One, hence the ritual action: a premeditated act, a performance without actors, a foley severe monologue, prosecution against the tight bond between the art commercial ideology of maximum usability and the subsequent diffusion of the source object transformed into artistic souvenirs, t-shirts, posters, home decor element. The thought is not just drifting serial infinitely reproducing the work makes fetish living for the masses, but also the surprising reversal of the prerogatives of the concept of Warhol Pop, because while intuition garde American tended to serialize business objects in common use, so as to render "multiple" the star holliwoodiane, today it seems to happen the exact opposite: the art classified, classical and stored in the collective memory, to take gadgets can be cloned indefinitely, thus clearing the way the matrix creative and dynamic power of the original. The latter, made prisoner by overexposure forced induced a ruthless and greedy, tends to fade sadly confused in the post-modern kaleidoscope. Thus refuting, with the blessing of Max Stirner's thesis on the reproducibility of Art of Walter Benjamin, the prescient as preparatory to the alienating tendencies of today, FI moves the critical action with a public proclamation: "Too late."
Using a symbolism subtly Carrollian, the mask of the rabbit as a reminder of the inexorable passage of time, the action takes place recitin performing a voltage iconoclastic seemingly nihilistic. The act of destroying it is not subject to instinctual drives superficially and is not limited only to commit an affront symbolic reassuring dining here, where he settled in what is called good because like it or which by convention should like, through a ritualistic impersonal and support rudimentary equipment of industrial style, the statues are sacrificed in the name of liberating vision of art and a push towards the plains of provocative a new chance. The initial act of breaking, is nowhere near the pre-mission to find worthy continuation requires of course a mirror epilogue, inspired both by abnormal forms of concealment designed by Christo that the "Pubelle" made by Arman, the program will performative consistent in the final ironic celebration of new, recycled, fetishes contemporaries.
The FI performance, specifically designed for the day of Contemporary Art, is built on some preliminary considerations regarding the representation and reproducibility of the One, hence the ritual action: a premeditated act, a performance without actors, a foley severe monologue, prosecution against the tight bond between the art commercial ideology of maximum usability and the subsequent diffusion of the source object transformed into artistic souvenirs, t-shirts, posters, home decor element. The thought is not just drifting serial infinitely reproducing the work makes fetish living for the masses, but also the surprising reversal of the prerogatives of the concept of Warhol Pop, because while intuition garde American tended to serialize business objects in common use, so as to render "multiple" the star holliwoodiane, today it seems to happen the exact opposite: the art classified, classical and stored in the collective memory, to take gadgets can be cloned indefinitely, thus clearing the way the matrix creative and dynamic power of the original. The latter, made prisoner by overexposure forced induced a ruthless and greedy, tends to fade sadly confused in the post-modern kaleidoscope. Thus refuting, with the blessing of Max Stirner's thesis on the reproducibility of Art of Walter Benjamin, the prescient as preparatory to the alienating tendencies of today, FI moves the critical action with a public proclamation: "Too late."
Using a symbolism subtly Carrollian, the mask of the rabbit as a reminder of the inexorable passage of time, the action takes place recitin performing a voltage iconoclastic seemingly nihilistic. The act of destroying it is not subject to instinctual drives superficially and is not limited only to commit an affront symbolic reassuring dining here, where he settled in what is called good because like it or which by convention should like, through a ritualistic impersonal and support rudimentary equipment of industrial style, the statues are sacrificed in the name of liberating vision of art and a push towards the plains of provocative a new chance. The initial act of breaking, is nowhere near the pre-mission to find worthy continuation requires of course a mirror epilogue, inspired both by abnormal forms of concealment designed by Christo that the "Pubelle" made by Arman, the program will performative consistent in the final ironic celebration of new, recycled, fetishes contemporaries.
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