Guardare non è più un atto innocente
azione pubblica, sedie.
luca rossi, 2015.
-where you are-
"“Digital as a dimension of everything" was a motto coined by the Tate in 2013. If this credo hasn't come to your local art museum, it will soon. The tension/fusion between smartphone and art will clearly be one of the dominant themes of the immediate future." (Ben Davis)
The text has been translated from Italian into English with Google Translate. In so doing, the text deliberately maintains a level of approximation and imperfection that allows a more engaged, interactive, and open reading of the artwork and intentions.
When the Jews had to leave their land, they passed by the monument to the document. Tino Sehgal would have been in trouble. Of course they also had the oral dimension, and then Tino Sehgal would have breathed a sigh of relief.
We live in a technological darkages, where a development of the media and technology corresponds to a kind of global crisis. Getting around is dangerous. "Digital documentation" seems easy refuge. In selfie the author-artist becomes first viewer and content. As if we continually have many artworks as there are people in the world. The crucial problem is not to think and produce the content, but the critical sensitivity to make the differences between the content.
The blog whitehouse since 2009 has as its objective the development of a critical sensibility, through three ways: an unconventional projects, a critical work on and off the blog and three projects related to the dissemination and art education.
"notes 2009-2015" is a new exhibition with many pieces that are always where you are you see them. It is an overview that examines the projects submitted between 2009 and 2015. We have deliberately taken titles and captions. This is to create new and unexpected correlations. For each image, however, we chose a phrase, a kind of fact. A kind of note.
After the post-production we have overproduction. After 2001 artists not only offer post-production, but also a kind of archeology. Hence my article on the "Young Indiana Jones". The crisis of modernity is characterized by two elements:
-overproduction of content for which the crucial problem is no longer create the content but do the differences between the content.
- Not ability and willingness to make the differences between the content. And so asking what value can have a given artwork (content) for our lives.
Young Indiana Jones (as Dan Vo for example) try to solve the contemporary world in this way:
- Take objects and references of the past to charge the content/artworks with secure value. Propose a standard that later will be further aided by public relations.
- Mask the crisis of content and critical crisis with new content, participating in the overproduction.
At the Abbey of Senanque in France perhaps there is still a few steps before the casket empty Ticket. Above this shrine were holding times of the ticket that I have moved. Around the shrine we have a walt disney tourist. Obsessively photographing the shrine is like taking a positive attack, aimed to recover a sense of the place. Some tourists have started taking pictures with me the casket empty, while the monks have refused my proposal to hold the empty casket exposed in an official way and permanent. Religion is not asked to believe in a vacuum? We do not live an overproduction of content that the end is a vacuum? Enter a vacuum means having a new content? Tourists slowed and they rubbed their eyes. The case contained a small universe and a tiny reproduction (random) of the tao.
if public relations are rays that encounter a place, here is that the projections of the sun in a room are a work of art. Any standard that is loaded with value through public relations. Yuri Ancarani proposed a video that seems a kind of documentary that we can see on some satellite channels specialized. The video was produced by Maurizio Cattelan and immediately supported by others.It would be seen the same video if we had not had the public relations to support it? We are still able to look critically the reality? What differences between a video documentary shot in difficult and extreme conditions in the middle of the Savana and the video of Yuri Ancarani?
if you do not understand a thing look for it on youtube. This allows us to have a series of videos, read content, continuously growing and updated. A system of infinite growth of artworks. IMG 3733 is in fact a security standard that provides iPhone arbitrarily to video. Videos which are then put on you tube automatically. Usually this is video evidence of the users. Marginal situations and surreal.
The work shown in a temporary headquarters of gellaria zero milan, sees as protagonists - like contents- spots we have on our screen. The artwork is always where we are, the spots are in which rectangle hat tlooks like a formal overload.