Absolutely Goods

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Trilogy. This body of work entitled ABSOLUTELY GOODS, which I extended with a subseries called NOTES FOR THE FUTURE, follows the process OPERA / ARTWORK started since the first months of 2009. It could be still early to say whether it’s a step further in investigation to make the whole process more stable, a real trilogy on economic environment with its art system. What is certain is that this reshuffling of the economic drags questions and revisions of the meaning that art has had in the last decades. With its sanctuaries in which were held the great feasts and where has prevailed that sacred symbol - that crucifix of the art system which is the price. If the artists will raise the flight (and the shooting) to distance from a spectacular and also labored breathing view, there will be material and reasons to give sense to the next decade. And maybe I'll have a trilogy to be archived.

The false and lying gods. The ABSOLUTELY GOODS series highlights various aspects of our lives tied to the economic system in which we are immersed, and its basic element, the goods. An attempt to read beyond the recent winds of crisis on the art system, and looking at the human and environmental upheavals, and at the disturbing signs of sunset of an era. The artistic intervention involves mainly the textual language. The work started from a research aimed to form, with the use of brachets, the polisenso (multi-meanings) in phrases of common use. The bracket acts on vocabulary, doubling or tripling the meanings of the whole sentence. As in the transition from the term GOODS to GOOD and GOD. This conceptual passage - and here we find its peculiarity compared to word games can be viewed simultaneously, and different meanings maintain their presence, for example by displaying the message GO(O)D(S). The propositions thus acquire an evocative power of meanings sometimes strident, belonging to different contexts. For a more careful analysis, the combination of concepts apparently divorced becomes useful to highlights unusual relations and contradictory or transversal aspects of reality, always hovering between intuitive approach and structured readings, between tangible phenomenon and invisible spirit, between concrete objects and religious or secular ideals. The phrase THE FALSE AND LYING G(O)ODS identifies and calls the idols/gods with the goods themselves, in their persuasive and engaging capacity of advertisement, often tendentially false. Or the Good Shepherd, who takes on the appearance of the big brand or bank that sells its financial products - great piper dragging behind him flocks of sheep-shareholders to the slaughter - in THE GOOD(S) SHEPHERD. Reality and polisenso. In the polisenso and in its apparent contradiction, sometimes in surprising ways, emerges the complexity of the system. The language, in combining contradictory meanings, has this power to highlight, with a specific autonomy, unexpected but real connections and relations. With a critique not only regarding the limits of the social organization set by the economic system, with its imbalances and its recurrent crises. More generally we are in the presence of contradictions involving both the existential-individual and the socio-political choices. This is a very current, but also secular dialectic which has run through humanity also before capitalism. The struggle between spirit and materiality, between God and secular goods was well stigmatized by Francis of Assisi with his message and his life. His choice characterized by a dichotomous passaging from abundance of wealth to frugality and poverty, leaving comforts and property and conquering spirituality and values, is evoked by the contrast GOODS-GOD in G(O)OD(S). A paradigmatic path of an antipatory backtrend compared to...
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