The era of beyond tuth

Giovanni Presutti simulates a digital parody that lists, alters, transforms imaginary personal profiles that mix fictitious and role identities. Like a demiurge, he makes a metamorphosis that orders and turns primitive chaos into an explicit editorial message, through a precise performance action. He describes this obsessive need for popularity and success that hides a disguised addiction. His intention is clear, evident, almost palpable. The purchase invoice with which everything begins is itself an image of the book. The flat dimension of the screen gradually becomes three-dimensional, through imperceptible interventions that draw attention to the attitude of the observers, which is often passive. Presutti plays with perception, makes fun of common sense, while revealing a social lexicon pulled out of its context, by stripping down its features and making it, paradoxically, even less plausible. The simultaneous presence of all the events in the world, the monstrous flow of data destroys our ability to memorize it, inhibits our critical power of reaction, and we are now just able to use symbols like smiles, hearts and comments. Symbols that are useless, fake, mediocre, bizarre, limited. We are helpless, dazed and addicted to the prevalence of communication possibilities over contents. Reality loses its nuances, its depth and its importance. Good and evil look just the same.