Cesare
Pietroiusti affirms the existence of a public dimension, which is the opposite - or at least he is in dialectical relationships - those private. So we dipped into a problem as is the value that a particular community attributes to the public domain as logged in, the care she puts in, the cognitive or affective connotation. In Italy, for example, is known to the family that represents the dominant model, both economically and psychologically. Let's say, for better or for worse, there is a certain behavior "clans", with a strong sense of belonging, with long-term partnerships. The attitude of mistrust towards the other is considered a normal act. Pietroiusti believes that the public sphere of civic importance - the road or school, municipal office or even a bank in the street - is mostly played in a distracted, especially when something goes wrong. No wonder, then, on that "public art" is a formulation that resonates with bureaucracy, alienation and boredom.
Cesare contends that the intervention of an artist in an urban environment should work on the folds, and not easily recognized and categorized as "art." Is better in fact, contribute to determine the casual observer - one who does not seek - a time of uncertainty and doubt rather than to confirm expectations.
To understand a little better what they want to, we say that Piestroiusti prefer, no doubt, when someone covers one of his projects, a reaction like: "What is this?" Instead of " is art, therefore, not concern me. "
For the Italian artist" the 'public sphere' is simply that crossed and made of subjects who did not know and do not know him personally, where the 'private sphere' is that cross and made by people who know. " In this sense, a traditional artistic intervention - an exhibition of paintings, for example - in a museum can have a much more "public" project, perhaps more social nature, aimed at a specific and ; limited group.
In art, what really interests Pietroiusti Cesare is not the cause, but the critical idea, the ability to give rise to doubts and questions that belong to us belong, perhaps from very trivial matters, of realities as "infra-ordinary." Hence the involvement of Cesare in this project so ambiguous and uncertain couple of 'discrete domiciled', which undoubtedly seeks provocation, leaving indifferent to any of the visitors. Pietroiusti interacts with people asking simple questions that only the viewer can answer yourself: Why go slow? What's the point? How long could they hold out?, Etc.
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