work
Colazione sull’erba sintetica
| category | Photography |
| subject | Political / Social, Human figure |
| tags | |
| base | 50 cm |
| height | 41 cm |
| depth | 0 cm |
| year | 2023 |
The Luncheon on the synthetic Grass (2023)
Fine Art Print on WaterColor Epson paper on Dibond, 40,8X50cm
1/3
“In the new generations, there is a notable - and the trap aesthetic is a clear example of this - inability to present oneself for what one truly is: human beings, single individuals, with fears, vulnerabilities, and needs. This is what is ‘painted’ in a timeless and spaceless canvas, in a tableau vivant realized in the form of a video and photographic print [...]. We are immersed in a natural landscape, just like in Édouard Manet's famous work; the positions of the three characters are the same, there seems to be a dialogue, but in reality, no one is listening to each other. The clothes reveal the era in which this tableau vivant is set: ski masks cover the three faces, and only one of them is speaking. Large headphones crown his head, and it is from there that trap songs come out. He listens to them and sings them aloud in the silence of natural sounds. No reaction. No physical contact, no eye contact. Each is immersed in the darkness of their balaclava. Sealed ‘Sprite’ bottles replace the picnic basket that held the breakfast in Manet's famous work. The beverage is a precise symbol of the trap aesthetic, as the soda is one of the two ingredients to create purple drank, also known as lean: the drug associated with performers and listeners of this musical genre. [...]
In The Luncheon on the synthetic Grass verses from trap songs are first stripped of their musical base and then shouted into the silence of that environment. From this process of decontextualization, the atmosphere reveals the profound dramatic nature of those words coming out of the mouth of one of the three characters. In trap music, the lyrics are covered by attractive and catchy sounds that make everything ‘sweeter’ and more digestible. In this work, however, everything is inverted: there is no reaction from the listener, the words are lost in the environment, and with them, any possible meaning. …Parole, parole, parole soltanto parole… (Words, words, words, just words), the video ends with Mina’s voice, to which a slight Auto-Tune has been applied. From a Bluetooth speaker, positioned where in the original painting there was a woman washing herself, we hear a song that seems to be the perfect soundtrack for what we have just seen: ...Parole, parole, parole, parole, parole, parole soltanto parole, parole tra noi... (Words, words, words, words, words, just words, words between us)”
from 'SNITCH. Phenomenology of a changing Italy', critical text by Alessio Vigni
Fine Art Print on WaterColor Epson paper on Dibond, 40,8X50cm
1/3
“In the new generations, there is a notable - and the trap aesthetic is a clear example of this - inability to present oneself for what one truly is: human beings, single individuals, with fears, vulnerabilities, and needs. This is what is ‘painted’ in a timeless and spaceless canvas, in a tableau vivant realized in the form of a video and photographic print [...]. We are immersed in a natural landscape, just like in Édouard Manet's famous work; the positions of the three characters are the same, there seems to be a dialogue, but in reality, no one is listening to each other. The clothes reveal the era in which this tableau vivant is set: ski masks cover the three faces, and only one of them is speaking. Large headphones crown his head, and it is from there that trap songs come out. He listens to them and sings them aloud in the silence of natural sounds. No reaction. No physical contact, no eye contact. Each is immersed in the darkness of their balaclava. Sealed ‘Sprite’ bottles replace the picnic basket that held the breakfast in Manet's famous work. The beverage is a precise symbol of the trap aesthetic, as the soda is one of the two ingredients to create purple drank, also known as lean: the drug associated with performers and listeners of this musical genre. [...]
In The Luncheon on the synthetic Grass verses from trap songs are first stripped of their musical base and then shouted into the silence of that environment. From this process of decontextualization, the atmosphere reveals the profound dramatic nature of those words coming out of the mouth of one of the three characters. In trap music, the lyrics are covered by attractive and catchy sounds that make everything ‘sweeter’ and more digestible. In this work, however, everything is inverted: there is no reaction from the listener, the words are lost in the environment, and with them, any possible meaning. …Parole, parole, parole soltanto parole… (Words, words, words, just words), the video ends with Mina’s voice, to which a slight Auto-Tune has been applied. From a Bluetooth speaker, positioned where in the original painting there was a woman washing herself, we hear a song that seems to be the perfect soundtrack for what we have just seen: ...Parole, parole, parole, parole, parole, parole soltanto parole, parole tra noi... (Words, words, words, words, words, just words, words between us)”
from 'SNITCH. Phenomenology of a changing Italy', critical text by Alessio Vigni
