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If you don’t understand sometihing search for it on YouTube

4 acrylic paintings with pastel, each work 60×60 cm, video, Luca Rossi 2022.

Each work, following the title, becomes the gateway to a sort of contemporary ‘Sistine Chapel’. Each painting is immobile but capable of changing every day. In this version, 4 paintings have been left at the mercy of Teo, a 2-year-old child. The works have become “games” outside of any utilitarian and performance purpose. These paintings are so “strong” that they do not fear the intervention of a child (the paintings have been scribbled, punched and pressed). As well as representing the complex fluidity of our time, always suspended between the digital and analogue worlds, the IMAGES series of works also represents a form of resistance to the degeneration of the Internet algorithm.

 

Useless Bodies
A completely empty building in the centre of Milan, a plastic membrane, a system for intercepting online searches linked to Milan Art Week, Luca Rossi 2022.
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A project set up in Milan to launch “Stay at Home”, the Venice Biennale in your home.
Over the last few days in Milan, 150 people have been lured into a building through Google searches. In fact, the project intercepted all the searches for all the Miart 2022 keywords. The palace was completely empty, simply to a door was fixed a tissue that moved only when people arrived, turned in the building or opened the door of the building. 
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Sometimes the difference between looking at a work on the internet and seeing it in real life is simply the air displacement caused by our bodies.

AS NO DOORS (APRIL 2022)

These two works deal from different points of view with the information overload of which we are all both creators and victims. An ever-increasing digitalisation that risks suffocating and anaesthetising us. The manipulation of information, in which anyone can participate today, and of which we are all authors and spectators, generates very significant and dangerous “real” fallout. 

While the paintings of the IMAGES series succeed in opposing this tsunami of information, the installation “useless bodies” in Milan gives a form to the manipulation of information. The plastic membrane moves and changes every time a person enters the building. People have been drawn into the building by a technique that intercepts their Google searches. These are imperceptible changes that we find difficult to register. The same imperceptibility on the real that the manipulation of information has.