Londra Culturale

Ginevra Bria

Oleg Koefoed

Simonetta Lux

Roberto Pinto

Elvira Vannini

Interview with
Simonetta Lux

Susanna Bianchini

Antonio Cossu

Giornale Sentire

Milano Sud (p.9)


Undertaking an anthropological look at our living times, we could easily assert that one of the most recognizable elements of this period is directions and loose sheets. It is usually compulsory to look for both of these elements when buying almost every product. In Contemporary Art, these kind of explanations are generally embodied by critical interpretations, as the one you’re reading, but sometimes, works of art choose deliberately to play as reality directs, becoming by this way symbols of wider spectrum processes. Marco Dalbosco’s performances, both when they pose the question of analyzing aesthetic levelling and when they get deep into the links of identity issues, aim to disenchant with common daily clichés set every day in front of us. A recent exhibition, Incerti Arredi is an example through which Dalbosco, following in the Ikea strategy footsteps, realizes posters – pined regularly up unto advertising spaces – shoots promotional videos and finally constructs paper-made furniture, installing a complex system for colliding reality with its representation – like usual images do with their doubles.

Scala 1:18 project goes along in parallel. This work has had quite a long-lasting preparation. In fact it is a project that began to take its final form during the year 2001, setting its contents in the factory ambient and analyzing its obsessive and repetitive production process.

Dalbosco, also in this case, realizes factory-machine models using paper sheets. Those processes let a clear link emerge, tying the artist to the hand-made production and completely underlining the creativity and the uniqueness involved – that is why it associates the photos with their real placement. After this realization, Dalbosco prepares a performance staging some girls, all rigorously, equally dressed, hair and makeup included, who repeat – through a continuous and potentially infinitive modularity – all the same gestures, the same steps and the same sequences. A circle that obliges the dancers to maintain themselves bound by a never-ending movement which, at its very ending, goes back to the starting point. On the other hand, the entire operation has a liberating aspect that redeems creativity from job alienation, focalizing, at the same time, the issue on repeating, alienating and modulating mechanism, set behind the creativity myth. In the end, the continuous loop of dancers’ steps becomes a metaphor of our behaviours and our mental mechanisms. And if in theory they could seem free and joyful, in practice they are often made like certain kinds of commodities: entertainment-pre-packed packaging, full of fantasies and insights.

September 2008

Roberto Pinto