images selection, a prayer, text.
Whithey Museum and different venues, 2010.
I thought about an everyday prayer so that something who could destabilize the cliché of the Whitney Biennial would happen and say something significant about the focus on United States that this event traditionally presents.
Before starting to pray every day I intervened (02-14-10) on the “dead zone” which separates the prisoners’ cells in Guantanamo from the external boundary wall. This intervention had no defined time and space connotations. It was a rectangle made of black dust, laid out on the sand. This intervention was completely instinctive and had no connection with my intentions about the Biennial of the Whitney Museum.
This attitude of mine is similar to a kamikaze’s, between an exaggerated spiritualism and the fact of being “cretino” (“stupid”,“fool,” “idiot,” “dumb,” “moron,”). This because the prayer is something serious, but it is “cretino” to think of taking part in the Whitney Biennial without even going there and imposing on oneself the support of the distance. It’s curious that in Italian the root of the word “cristiano” (Christian) is the same of the word “cretino” (stupid).
When the Biennial started, I started my everyday prayer. I started analyzing the many images that users posted on the Net and on flickr.com, looking for significant events. I found this image, almost completely black, with some faces emerging on the foreground. It seemed that the clearer sand had repositioned itself on my rectangle made of black dust and defined some unfocused
Some days later, the Icelandic volcano started erupting dust (18-04-10). This blocked many people in a sort of collective waiting. It was a forced collective waiting, but it forced everyone to appreciate real distances. This is interesting because appreciating distances involves a new consciousness about distance itself, but also about the place where one is.