[UK]

...give her
a love
happy or
unhappy but
that is love
Language is not only the representation of the world, or a medium that enables the
subject to establish a relationship with an exteriority; it is the organ that allows us to
blend with the outside, to open a private flow to the environment.
When the language becomes the driving force of the world, rather than just
mirroring it, traditional contradictions, such as myself/another or public/private
disappear. Therefore new forms of understandings become possible, which redefine
global existence in the light of a continuous shift between identification and distance.
Becoming part of the world and making it communicate through their own
practice: the artist, the environment (such as places, anonymous writers, loved ones)
and the language itself take part in a continuous re-reading of oneself and others on
different levels, thus reformulating not only relationships but the concept of identity.
This re-reading happens through manipulation of anonymous messages written on
walls, readdressed to familiar people, who discover them like an embellishment on a
clothing garment that has previously been taken away.
The original message gets continuously translated and represented by different
individuals, through a journey that makes it impossible to find out who the original
author is as well as what the original message meant.

The work of art is more about suggesting behaviour and proposing it as the object of
a debate, rather than a personal interpretation, a portrait of the subjects. The artist
becomes nominator, through a continuous questioning of the existence, which is not
based on a particular technical knowledge, and doesn’t require any. The world
becomes the interlocutor, the artist reads every stimulus as a possible answer, and
transforms everything in a signal, into a metaphor of something else.
Through the language, which becomes the last insurmountable limit, the
difference between ego and exteriority is reduced to almost disappearing. This
difference enables the private part of the self to expand rather than disappear. The
research turns into using the language as an action rather than a representation,
blending with the deepest feelings, reformulating them. The gap, although banal, is
meaningful: finding a new and personal interpretation and sense, rather than
communicating a definite and approved meaning. The message, intimate but at the
same time public, is inaccessible and is assimilated due to a process that translates
and transforms it, through personal experiences and perceptions. Every stimulus, on
the other hand, is transformed in “personal” perceptions as soon as perceived.

Concentrating on the translation process and the inevitable changes of meaning that
come with it, make the idea of every positive confrontation harder. A real consensus
is always a consensus, first of all of the awareness of the impossibility of a
relationship totally honest and satisfying.
In the light of all of this, the hope and trust in the importance of the exchange still
remains: the work of art is in fact made of every possible discussion that will
generate from itself. This practice multiplies contradiction and problems, rather than
offering solutions. The challenge is to start a dialog where the dialog itself has come
to an end, beyond the limit of the private and unspoken.

Translated from the Italian by Sam Higham in collaboration with Claudia Fumagalli