SUPERHYPHENATION - exhibition view @ POPPOSITIONS 2017, ING Art Center, Brussel.

Parody of an Immortal - Stampa digitale su neoprene, corda, ferro, alluminio, ottone, rotelle | Digital print on neoprene, rope, iron, aluminum, brass, wheels. 135x40x30 cm.

Maybe Nemesis - stativi in metallo, stampa digitale su PVC | steel stands, digital print on PVC. 222x145x206 cm.

Six sayings about fortune -  Stampa digitale su raso, alluminio, ottone | digital print on satin, aluminum, brass. 170x150 cm.

Perspective view of the same carved shadow -  Stampa digitale su raso, alluminio, velluto adesivo, filo in ottone | digital print on satin, aluminum, adhesive velvet, brass wire. 200x150x30 cm.

del Miracolo delle Acque Amare Mutate in Dolci - Stampa digitale su raso, alluminio, ottone, pellicola adesiva effetto legno | digital print on satin, aluminum, brass, wood adhesive film. 40x100x190 cm.

SUPERHYPHENATION (2017)

Solo Project. Galleria Massimodeluca @ POPPOSITIONS 2017, ING Art Center, Brussel. Curated by Niekolaas Johannes Lekkerkerk

 

 

“For a willingness to descend into that alien territory - where I will lead you -may reveal that the theoretical recognition of the split-space of enunciation may open the way to conceptualizing an international culture, based not on the exoticism of multiculturalism or the diversity of cultures, but on the inscription and articulation of culture’s hybridity. To that end we should remember that it is the ‘inter’ - the cutting edge of translation and negation, the in-between space - that carries the meaning of culture”

Homi K. Bhabha, The Location of Culture, 1994

 

Questo corpo di opere assume la diaspora come metodologia di produzione. Ogni diaspora è il passaggio dall’unità alla molteplicità. La dispersione di popoli, informazioni e culture crea la fusione del fisico e del remoto in uno spazio interconnesso che può essere abitato da multipli utenti remoti simultaneamente e a-sincronicamente. In questo scenario, le relazioni - piuttosto che la storia - costituiscono le premesse per un processo di produzione costituito di azioni discontinue e a-logiche che rifiutano le garanzie di valore. L’oggetto risultante diventa perciò forma della realtà contemporanea piuttosto che veicolo di comunicazione sociale.

 

This body of works assumes diaspora as methodology of production. Every diaspora is the passage from unity to multiplicity. The dispersion of populations, information and cultures creates the fusion of the physical and the remote into a networked place that can be inhabited by multiple remote users simultaneously or asynchronously. In this scenario, relations - rather than history – constitute the premises for a process of production made of discontinuous and alogical actions, which refuse guarantees of value. The resulting objects thus become forms of contemporary reality instead of vehicles of social communication.