work
Idrofobia di Stato senza guinzaglio
| category | Painting |
| subject | Political / Social |
| tags | assoggetazione, cane robot, controllo, tecnologia, doppio, inorganico |
| base | 108 cm |
| height | 104 cm |
| depth | 5 cm |
| year | 2020 |
oil on canvas
Unleashed State Hydrophobia
'Modernization' is the name for a strict and servile definition of the possible.
Alain Badiou
The oil on canvas painting represents a group of people gazing upwards towards the fragmented and decomposed figure of a 'robot dog', an automaton that in some Asian countries has become an instrument of control of compliance with anti-pandemic measures.
On the right you can see the evanescent shape of a dog, a simulacrum of the biological being, the living animal, excluded and obliterated by its technological surrogate.
The intent is to focus one’s attention on the relationship created between people and machines due to the emergency situation caused by the pandemic. The fragmented image of the 'machine' not only refers to the bright yellow automaton introduced by Eastern governments to safeguard security in public open spaces, but to all the mechanical and technological means that have performed during these difficult times the most varied functions. It is impending over the human beings, who are overawed in a submissive posture, while for their part the humans are looking at the device with mixed feelings of fear, admiration and illusory expectations of salvation.
The work is a criticism of blind faith in what’s artificial, inorganic, and also of the passive acceptance – due to fear of contagion – of any solution or prescription whatsoever, even if senseless and incomprehensible, even if it is imposed on us by authority and without offering any tool for an autonomous assessment and a conscious decision.
Unleashed State Hydrophobia
'Modernization' is the name for a strict and servile definition of the possible.
Alain Badiou
The oil on canvas painting represents a group of people gazing upwards towards the fragmented and decomposed figure of a 'robot dog', an automaton that in some Asian countries has become an instrument of control of compliance with anti-pandemic measures.
On the right you can see the evanescent shape of a dog, a simulacrum of the biological being, the living animal, excluded and obliterated by its technological surrogate.
The intent is to focus one’s attention on the relationship created between people and machines due to the emergency situation caused by the pandemic. The fragmented image of the 'machine' not only refers to the bright yellow automaton introduced by Eastern governments to safeguard security in public open spaces, but to all the mechanical and technological means that have performed during these difficult times the most varied functions. It is impending over the human beings, who are overawed in a submissive posture, while for their part the humans are looking at the device with mixed feelings of fear, admiration and illusory expectations of salvation.
The work is a criticism of blind faith in what’s artificial, inorganic, and also of the passive acceptance – due to fear of contagion – of any solution or prescription whatsoever, even if senseless and incomprehensible, even if it is imposed on us by authority and without offering any tool for an autonomous assessment and a conscious decision.
