luca rossi
everywhere for an indefinite time
scroll down for italian and english version
"If I imagine, I see. What else do I do if I travel? Only the extreme weakness of the imagination justifies that one must move to feel"
Fernando Pessoa
"Irregularities and exceptions are often what prevents the system from crashing"
Hans Ulrich Obrist
Hans Ulrich Obrist
If you don't understand a thing look it up on youtube
pvc letters, 1,5x1,5 m
2015 luca rossi
Nine at the mirror with the tip of the fingers of one hand
various material
2015 luca rossi
installation view
various material, stains, image var. dim., screen
2015 luca rossi
Now where you are
various material, stains, screen
2015 luca rossi
The museum in our house
3D suspended letters, over 40 homemade artworks.
2015 luca rossi
Serpentine Gallery
luca rossi
scroll down
everywhere for an indefinite time
supported around the world by
scroll down for italian and english version
info: altmann.kari8@gmail.com
"“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)
Cy Twombly : (silence)
“People doesn't want to be the audience, nor the student, wants to get into the thing, they feel that there are already inside.”
“People doesn't want to be the audience, nor the student, wants to get into the thing, they feel that there are already inside.”
Per vedere questa mostra di Luca Rossi potete stare dove siete e potete farlo quando volete. Il titolo "Scroll down" si riferisce al movimento per vedere la mostra. Un movimento da fermi, scorrendo in basso la pagina di questo blog. Viviamo un bombardamento di contenuti sotto forma di opinioni, video e immagini (Instagram, Facebook, ecc.). Provate a cliccare l'hastag #contemporaryart per rendervi conto della quantità di proposte e delle loro facilità nell'essere comunicate. Opinioni, video e immagini contribuiscono ad una sovrapproduzione indiscriminata di contenuti. Viviamo una "democrazia dei contenuti", dove il problema non è creare e comunicare il nostro contenuto, ma poter fare le differenze per trattenere qualcosa e non soffocare. Se ci tirassero 1000 cose addosso non potremo trattenere nulla. Il nostro smartphone è pieno di foto, anche molto belle, ma che difficilmente faremo stampare. Si dice che quando gli ebrei, in una situazione di emergenza, dovettero lasciare la loro terra, furono costretti a passare dal monumento al documento.
Ogni intervento di Luca Rossi costringe ad un "nomadismo immobile" dove l'esperienza diretta dell'opera d'arte, in senso tradizionale, è del tutto superflua. Ogni opera di Luca Rossi sembra essere un "buco nero" che ha risucchiato tutto il processo che va dall'accensione delle luci nello studio dell'artista, fino all'ultimo spettatore che esce del museo. Potremo effettivamente parlare di un'ecologia dell'arte dove il consumo di risorse è prossimo allo zero. Ogni intervento mantiene un'ambiguità tra la sua documentazione e la sua installazione reale nello spazio. Non si tratta di una scelta che vuole essere innovativa, ma di una scelta che vuole essere consapevole rispetto la nostra contemporaneità. L'opera d'arte, come ogni fatto della nostra vita, vive una fibrillazione continua tra esperienza diretta ed esperienza mediata. Anche il racconto orale, come la lettura di un giornale, possono dirsi esperienze dirette. Dove sta la verità e la dimensione più vera e ricca di significato? Il problema non è cercare l'esperienza più vera e più diretta possibile, quanto sviluppare una sensibilità critica che ci possa fornire consapevolezza rispetto a quello che vediamo. Una consapevolezza critica per fare le differenze e sviluppare la capacità di vedere, intesa nel significato più ampio di "sentire".
Bruno Munari diceva: "saper vedere per saper progettare". L'arte contemporanea può diventare una palestra dove fare fitness per "vedere bene". Non a caso il compito della critica d'arte sarebbe argomentare l'opera in sé (quello che vediamo), rispetto al contesto e alle intenzioni dell'autore. Arthur Danto sosteneva come nell'opera d'arte qualcosa sfugge all'occhio. Potremo dire che tutta l'arte è concettuale, ossia nasconde concetti e significati che sfuggono all'occhio. Ma la vita stessa è arte concettuale; in quello che vediamo c'è sempre qualcosa che sfugge all'occhio e che solitamente è molto importante.
"Invece che subirla o resistervi per inerzia, il capitalismo globale sembra aver fatto propri i flussi, la velocità, il nomadismo? Allora dobbiamo essere ancora più mobili. Non farci costringere, obbligare, e forzare a salutare la stagnazione come un ideale. L'immaginario mondiale è dominato dalla flessibilità? Inventiamo per essa nuovi significati, inoculiamo la lunga durata e l'estrema lentezza al cuore della velocità piuttosto che opporle posture rigide e nostalgiche. La forza di questo stile di pensiero emergente risiede in protocolli di messa in cammino: si tratta di elaborare un pensiero nomade che si organizzi in termini di circuiti e sperimentazioni, e non di installazione permanente, perennizzazione, costruito. Alla precarizzazione dell'esperienza opponiamo un pensiero risolutamente precario che si inserisca e si inoculi nelle stesse reti che ci soffocano."
Queste parole di Nicolas Bourriaud sintetizzano bene il lavoro di Luca Rossi. Spettatore, opera d'arte e autore diventano così flessibili da essere sempre nello stesso luogo e nello stesso momento. Questo nomadismo avviene senza alcun spostamento e alcuno spreco di risorse. Servirebbe non dover più andare in un luogo e rimanere solo dove "siamo". Non serve l'ennesima installazione temporanea e permanente ad alternarsi periodicamente in alcuni luoghi in un processo infinito. Abbiamo più tempo per noi, per godere di tempi di decompressione. Fare una mostra, come visitare una mostra, non costa nulla. La mostra è sempre con noi e allo stesso tempo "risolutamente precaria", perché legata ad una connessione internet. Non è forse questa la sensazione che abbiamo quando pensiamo di avere il mondo nella nostra mano, per poi ritrovarci legati ad un server e alla possibilità di ricaricare il nostro smartphone?
Luca Rossi esprime una posizione politica ben precisa. Con la crisi della democrazie occidentali e dei sistemi di rappresentanza, è ormai chiaro come le politiche macro siano unicamente "politiche di galleggiamento" che non sono in grado di realizzare alcun cambiamento. L'unico spazio politico ancora praticabile è rappresentato dal nostro spazio locale, micro e quotidiano. La scelta che ognuno di noi può prendere in questo spazio (Luca Rossi scrisse un articolo su Artribune che sosteneva come il vero parlamento sia intorno a casa nostra) vale per la nostra vita 10-20 volte la decisione che potrebbe prendere un Capo di Stato. Al contrario ci rassicura e ci deresponsabilizza pensare che non sia così, e per questo siamo portati ad aspettare perennemente un macro-cambiamento che deve arrivare dall'alto e che immancabilmente non arriva. Ogni progetto e ogni opera, presentati da Luca Rossi a partire dal 2009, hanno una natura prettamente "locale", perché sono sempre ed unicamente dove si trova lo spettatore. Solo in alcuni casi l'opera o il progetto conservano ricadute in altri luoghi diversi da quelli in cui si trova lo spettatore.
Negli interventi di Luca Rossi a partire dal 2009, come in quelli presentati presso la Serpentine Gallery, non è tanto importante "cosa" ma "come". Armati di smartphone siamo consumatori e produttori di centinaia di contenuti testuali, video e fotografici. Viviamo in una casa con centinaia di scatole chiuse. Centinaia di "app". Il "cosa" contengono queste scatole sta diventano sempre più marginale. Il vero problema è "come" gestire questa scatole. Il problema, nell'arte come nella vita, non è tanto "cosa" troviamo nelle singole scatole, ma è "come" gestire al meglio queste centinaia di scatole. Ogni intervento presentato presso la Serpentine Gallery mantiene uno scarto che non si gioca tanto sul "cosa" quanto sul "come".
5 Art Pieces:
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.
In the first piece we find an installation that had a strong impact on the architecture of the Serpentine Gallery. An installation that could also be real and they are presented some letters and numbers giants. It is a title that the smartphone arbitrary attributes to the videos that are created by users and immediately loaded on You Tube. This way you create an archive in constant growth and change. Since the user chooses not to give a specific title to the video, it is considered marginal and unimportant videos that are posted on You Tube for various reasons. We can talk of an "archive the unconscious". These videos are actually subtly poetic, for their minor remain hidden on the network and register very few views. If we do not understand something, we are invited to find this thing on YouTube, and in this way the installation triggers a chance to see many videos that open to a look varied and unexpected reality. In this way suggests a criterion, once more a "how to", to order the bombing of the content to which we are subjected.
The second contribution comes from the fingertips actually passing on the tactile mouse of a laptop of new generation. What we might call "sculpture" it looks like a number "9" in the mirror. Once again it is evident that the important thing is not "what" but "how." The project maintains a lightness that is manifested in a spatial and temporal coincidence between viewer, author and art work. The work actually exists only in the place in which we find ourselves. That is the only "political" place still avaible and fit for use.
The third intervention shooting a recurring theme in the work of Luca Rossi. On September 11, it can be considered a symbolic moment and not only in terms of global and political. The attack of September 11, 2001 represents a peak formal respect or about the art of the twentieth century and in particular of the nineties. Just think of the preparation and action of terrorists, formal effect, the conspiracy theories related attack, etc. etc.. After this symbolic moment provocative art of the nineties, it seems weaker, and at the same time does not seem to be emerging artists that can have a significant impact. Luca Rossi decides to present the skyline of New York before September 11, naming the work "10 September 2001". Everything looks quiet. People's lives seem quiet. As if to say that the problem, the media and political event is not played on September 11, 2001, but at any time in the management of our daily lives. The title provides a gap which overturns and fully recalibrates the importance of the media event.
We have the fourth intervention. In this case it is stopped at a time when the solar rays, meeting the windows of the gallery, form bright paintings on the walls. In the absence of a argued and shared critical sensibility the only discriminator to differentiate the artworks seem to be public relations. That is, if today we went to the Serpentine Gallery and shoot in every room a lot of garbage collected from the city of London, this would be an intervention legitimate for the international art world would watch carefully. Perhaps Frieze good gallery also be able to sell, without major problems, that same garbage. It could be an intervention in between Maurizio Cattelan and Santiago Sierra. If Mr Rossi or Mr. Smith did the same thing in a small town near Rome, the exhibition does not would receive the same success. If we consider the sun's rays as public relations, when they hit the gallery artwork appears, or a standard (as when the sun form figures of light in a room). The work of art does not really exist; at night for example, the room is empty. How to bring up the work of art? If we want to free ourselves from the "dictatorship of public relations" and bring up the work of art, you have to find the reasons and the urgency of the artwork. Otherwise we will have only a standard supported by "best" public relations.
In this piece the size macro impact and create an effect in the micro size of the gallery. The passing of the seasons and the sun's movement, constantly changing artwork, as something perpetually vital, but is often absent, creating, once again, an ambiguity between full and empty.
In the fifth and last piece what appears to be a blank billboard, saturates the space. As in the second intervention at the Serpentine Gallery, this choice might be motivated by the desire to cancel the artworks but also to represent a formal overload, as if, ironically, we could bring all artworks transited into a museum, into museum itself and at the same time. Now if we took all the artworks transited in the history of the Serpentine Gallery, at the Serpentine Gallery we will have a full that would not let us see anything. A vacuum masked by a full mask. What remains of the many exhibitions and biennials scattered around the world? This rectangle, which almost fill the entire image, is instead remaining as empty. Suddenly this "full / empty" becomes immediately obvious the stains that are present on the screen of our computer.
-----------------------------------------------------ENGLISH VERSION
Serpentine Gallery
luca rossi
scroll down
everywhere for an indefinite time
"“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)
Cy Twombly : (silence)
“People doesn't want to be the audience, nor the student, wants to get into the thing, they feel that there are already inside.”
“People doesn't want to be the audience, nor the student, wants to get into the thing, they feel that there are already inside.”
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.
To see this exhibition of Luca Rossi you can stay where you are, and you can do it whenever you want. The title "Scroll down" refers to the movement to see the exhibition. A movement stationary, scrolling down the page of this blog. We live a bombardment of content in the form of opinions, video and pictures (Instagram, Facebook, etc.). Try to click #contemporaryart to realize the amount of proposals and how are easy to be communicated. Opinions, videos and images contribute to an indiscriminate urge to document. We live in a "democracy of content", where the problem is not to create and communicate our content, but we can do something to keep the differences and not choke. If shooting 1000 things on him, I can't hold anything back. Our smartphone is full of photos, also very nice, but that is unlikely we will print. It is said that when the Jews, in an emergency situation, they had to leave their land, were forced to move from the monument to the document.
Any intervention by Luca Rossi forces to a "immobile nomadism" where the direct experience of the artwork in the traditional sense, is entirely superfluous. Each piece of Luca Rossi seems to be a "black hole" that has sucked the whole process that goes from power the lights in the artist studio, until the last spectator coming out of the museum. We can actually speak of an ecology art where resource consumption is close to zero. Each intervention maintained ambiguity between its documentation and its installation in real space. This is not a choice we want to be innovative, but a choice that wants to be aware than our contemporary. The work of art, as every fact of our lives, lives fibrillation continues between direct experience and experience mediated. The oral history, such as reading a newspaper, can be said "direct experiences". Where is the truth and the real dimension and meaningful? The problem is not to try the experience more real and direct as possible, but how to develop a critical sensibility that we may provide awareness about what we see. A critical awareness to make the differences and develop the ability to see, understood in the broadest sense of "feel".
Bruno Munari said, "knowing how to see to know how to plan." Contemporary art can become a gym where fitness to"see clearly". No coincidence that the task of art criticism would argue the work itself (what we see), compared to the context and intention. Arthur Danto argued in the artwork you have something escaping the eye. We can say that all art is conceptual, that hides concepts and meanings that escape from eye. But life itself is conceptual art; in what we see there is always something that escapes from the eye, which is usually very important."Rather than suffering or resist it by inertia, global capitalism seems to have made own flows, speed, nomadism? So we have to be even more mobile. Do not force us, and force us to greet the stagnation as an ideal. The imaginary world is dominated by flexibility? We invent new meanings for it, inoculate the long term and the very slow heart rate rather than oppose them rigid postures and nostalgic. The strength of this style of thought lies in emerging protocols commissioning way: it is to develop a nomadic thought that organizes itself in terms of circuits and experiments, and no permanent installation. We have to oppose to the precarious experience a resolutely precarious thought that fits and infiltrates in the same networks that suffocate us."
These words of Nicolas Bourriaud summarizes well the work of Luca Rossi. Spectator, artwork and author become so flexible as to be always in the same place and same time. This nomadism takes place without any movement and no waste of resources. We shouldn't longer have to go into a place and just stay where "we are". No need for temporary and permanent installations that alternate periodically in some places in an infinite process. We have more time for us to enjoy decompression times. Do a show, as going to an exhibition, doesn't cost anything. The exhibition is always with us and at the same time "resolutely precarious", because it is linked to an internet connection. Is not this the feeling we have when we think we have the world in our hands, and then end up tied to a server and the ability to recharge our smartphone?
Luca Rossi expressed a political position very clear. With the crisis of the Western democracies and systems of representation, it is now clear that the macro policies are only "policies flotation" that are not able to make any change. The only avaible political space still is represented by our local space, and micro daily. The choice that each of us can take in this space (Luca Rossi wrote an article on Artribune argued that the true parliament is around our house) applies to our lives 10 to 20 times the decision could take by a Head of State. Instead it reassures us and we think it's not so removes responsibility, and for this we are led to expect perpetually a macro-change that has to come from above and which inevitably never arrives. Each project and each work, presented by Luca Rossi since 2009, have a purely "local" because they are always and only where it is the viewer. Only in some cases the artwork or project retain repercussions in other places different from those in which the viewer is located.
Interventions of Luca Rossi since 2009, as those presented at the Serpentine Gallery, is not as important "what" but "how". Armed with smartphones are consuming and producing hundreds of texts, video and photo. We live in a house with hundreds of closed boxes. Hundreds of "app". The "thing" contained in these boxes are becoming increasingly marginal. The real problem is "how to" manage this boxes. The problem, in art as in life, is not so much "what" we find in individual boxes, but "how" to better manage these hundreds of boxes. Each intervention presented at the Serpentine Gallery maintains a gap that is not played much on the "what" but on the "how".
5 Art Pieces:
In the first piece we find an installation that had a strong impact on the architecture of the Serpentine Gallery. An installation that could also be real and they are presented some letters and numbers giants. It is a title that the smartphone arbitrary attributes to the videos that are created by users and immediately loaded on You Tube. This way you create an archive in constant growth and change. Since the user chooses not to give a specific title to the video, it is considered marginal and unimportant videos that are posted on You Tube for various reasons. We can talk of an "archive the unconscious". These videos are actually subtly poetic, for their minor remain hidden on the network and register very few views. If we do not understand something, we are invited to find this thing on YouTube, and in this way the installation triggers a chance to see many videos that open to a look varied and unexpected reality. In this way suggests a criterion, once more a "how to", to order the bombing of the content to which we are subjected.
The second contribution comes from the fingertips actually passing on the tactile mouse of a laptop of new generation. What we might call "sculpture" it looks like a number "9" in the mirror. Once again it is evident that the important thing is not "what" but "how." The project maintains a lightness that is manifested in a spatial and temporal coincidence between viewer, author and art work. The work actually exists only in the place in which we find ourselves. That is the only "political" place still avaible and fit for use.
The third intervention shooting a recurring theme in the work of Luca Rossi. On September 11, it can be considered a symbolic moment and not only in terms of global and political. The attack of September 11, 2001 represents a peak formal respect or about the art of the twentieth century and in particular of the nineties. Just think of the preparation and action of terrorists, formal effect, the conspiracy theories related attack, etc. etc.. After this symbolic moment provocative art of the nineties, it seems weaker, and at the same time does not seem to be emerging artists that can have a significant impact. Luca Rossi decides to present the skyline of New York before September 11, naming the work "10 September 2001". Everything looks quiet. People's lives seem quiet. As if to say that the problem, the media and political event is not played on September 11, 2001, but at any time in the management of our daily lives. The title provides a gap which overturns and fully recalibrates the importance of the media event. In this case, the skyline of New York is presented through a grid of the works that have previously had Wolfgang Tillmans at the Serpentine Gallery.
We have the fourth intervention. In this case it is stopped at a time when the solar rays, meeting the windows of the gallery, form bright paintings on the walls. In the absence of a argued and shared critical sensibility the only discriminator to differentiate the artworks seem to be public relations. That is, if today we went to the Serpentine Gallery and shoot in every room a lot of garbage collected from the city of London, this would be an intervention legitimate for the international art world would watch carefully. Perhaps Frieze good gallery also be able to sell, without major problems, that same garbage. It could be an intervention in between Maurizio Cattelan and Santiago Sierra. If Mr Rossi or Mr. Smith did the same thing in a small town near Rome, the exhibition does not would receive the same success. If we consider the sun's rays as public relations, when they hit the gallery artwork appears, or a standard (as when the sun form figures of light in a room). The work of art does not really exist; at night for example, the room is empty. How to bring up the work of art? If we want to free ourselves from the "dictatorship of public relations" and bring up the work of art, you have to find the reasons and the urgency of the artwork. Otherwise we will have only a standard supported by "best" public relations.
In this piece the size macro impact and create an effect in the micro size of the gallery. The passing of the seasons and the sun's movement, constantly changing artwork, as something perpetually vital, but is often absent, creating, once again, an ambiguity between full and empty.
In the fifth and last piece what appears to be a blank billboard, saturates the space. As in the second intervention at the Serpentine Gallery, this choice might be motivated by the desire to cancel the artworks but also to represent a formal overload, as if, ironically, we could bring all artworks transited into a museum, into museum itself and at the same time. Now if we took all the artworks transited in the history of the Serpentine Gallery, at the Serpentine Gallery we will have a full that would not let us see anything. A vacuum masked by a full mask. What remains of the many exhibitions and biennials scattered around the world? This rectangle, which almost fill the entire image, is instead remaining as empty. Suddenly this "full / empty" becomes immediately obvious the stains that are present on the screen of our computer.
