LA FAME - special abandoned edition is a performative act. During the performance I placed a substantial part of the works I created in 2017 for the LA FAME project and the homonymous exhibition at the Nomad Gallery in Berlin in an abandoned space identified for the occasion. I limited the intervention on the space to the red coloring of some of the objects already present on site without changing their position. As I have often done on the occasion of exhibitions, I completed the setting with a mural (the "23"). I invited the graffiti artist Kiose to make her intervention as a guest artist. The entire exhibition was therefore the subject of two live videos on my social channels.
The choice of the works and an abandoned place to exhibit them was dictated by a reflection on the devastating effects of the COV-SARS2 pandemic on the world of art. Museums, fairs and galleries pay the price of the contagion containment rules and the trend towards virtualization is getting stronger, reaching the extreme of calls for virtual artistic residences, but going even further by proposing to artists to exhibit their works on large screens placed in galleries. If on the one hand virtualization allows you to reach the public despite the limitations in force, on the other hand it reduces the works to their mere image, losing most of the material and dimensional aspects, think for example of the difference between being in front of a mural that occupies the entire facade of a twenty-story building and watching the photo of the same artwork on a smartphone screen. I decided to stress this aspect by using an abandoned place as an exhibition environment. The virtual tour allows you to see the exhibition, but does not convey anything else of the environment. You can't hear the drops of rainwater falling, you can't feel the wind or the smell of the garbage left there for who knows how long, and not even the noise it makes when walking on it.
The works of LA FAME tell of the bulimic aspect of our society for which we are willing to give up quality in favor of quantity and, therefore, the need to engulf stimuli without ceasing which tends to favor the simplest, most immediate stimuli which do not induce too much to dwell on them in order to immediately move on to gulp down the next one.
Painting an anal orifice on one of the walls overlooking the “exhibition” space was a consequent choice. In its apparent simplicity it represents in fact the catharsis of the immediate visual stimulus and at the same time the exit terminal of the waste produced by a society capable of accepting entire buildings as such and making them a garbage deposit.
Performance did on 26/09/2020 in an abandoned place in Rome.
Virtual tour and other details here: https://www.alesenso.it/lafame_sae
