Installazione, Fantasia / Visionario, Materiali vari, 190x140x24cm
E' un assemblaggio di vari materiali già lavorati o prodotti spesso prefabbricati, inseriti l'uno dentro l'altro come in un gioco di scatole che ne contengono altre. L'ambiguità e l'autobiografia sono le chiavi di lettura dell'opera.
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Commenti 60
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Lora
Maria
I morti
La terra rancida la terra marcia
I vermi sono contenti sotto la
Terra
Sto bene sotto la terra
La terra che copre tutto
La terra nera, la terra bruciata
Con pezzi di carbone bagnato
E la cenere di quello che
É stato
Grazie terra
Di coprirmi da testa a piedi
Terra grazie di essermi amica
saluti. ferdinando
posso solo sinteticamente dirti mi piace il tuo lavoro..
Grazie
davvero bellissimi i tuoi commenti
grazie davvero
It 'true that the war in this case are all in that it reaffirms desire to work covering the whole year and that puts an end to a problem that does not meet contemporary aesthetic. There is also the illusion of perspective, what apparently seems to go in depth is really two-dimensional, and in this case 'all' are representations. All disputes are also cosmetics, which have no effect, or perhaps they had in specific periods of history …
At least two are the meanings we give to the images: a poster, the other hidden. There are many ways to say that in this case allow us to interpret ambiguous and ambivalent world. War is 'personal' when you fight against something intangible, war is an event 'collective' where it belongs to the whole community, think of the Second World War.
When we speak of 'mother' or 'mother work' it speaks of the most important, as when one follows the intellectual masterpiece in its path. The masterpiece has many synonyms: the 'bride' or 'bachelor machine' (Duchamp), is a holy woman, a 'mother' as the mother's body as it is not working, is not usable, it is unfathomable, is not desecration, it is sacred.
Francesca
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