These sentences comment on art, but are not art
(Sol Lewitt, Sentences on conceptual Art, 1969, Art and Language)
As in my artistic research, in my Thesis for the MA in Visual Arts and Curatorial Studies I explored the links between Art and the Everyday.
What I'm asking to myself in my research is whether it would be possible to suppose a new set of "unexpected" display and a new series of practices for the Theroy of Art and, in general, for the Culture, which could encourage to revise the spaces of the Everyday life, of the Banal and of the Repetition.
The spaces of "l'infraordinaier" as defined by Georges Perec.
We don't need something extraordinary, we just need to rediscover it.
Spectacularizing the Reality we prohibited to ourselves the privilege to retrieve the banality. All that is ordinary, usual, customary and familiar is tagged tin the realm of banality, instead all that leaves us astonished is normally oustide our habits and it is alienating and alienated. This seems to have become the only yardstick to value the Reality that we deceive to conquer.
Rethinking the World in itself, even in its banality and in its repetition, this two parallel universes which are the so called "High Culture" and the so called "low culture" collapse inevitably in my experiences, in order to mingle together in a dynamic of exchange.
That 's what Jacques Rancière describes in "The Ignorant Master" with the experience of Joseph Jacotot, a university professor at Louvain in 1818, who theorized as the transmission of knowledge is an exchange in which we can not assume one who knows and one who doesn't know, but each involved part gives something to the other, horizontally.
Consequently, my thesis constitute an "unexpected" display (or unintended), which doesn't formalize in the shape of a book as the following vertical relationship "I write because I know and you read because you don't know", but it's a multi-authorial object in my everyday life, which could be placed in any place and could be used by anyone, by chance, and because of this, standing in the flow of the world, it opens itself to a following debate and to a further unexpected discussion. Outside any sketchiness.
This research refuses therefore the shape of the book as final result and the structure of the thesis concerns with the collection of a series of open comments by people I met by chance in my life during the last 4 year. I asked them to comment a quote I took from my whole bibliography of research, related to the Everyday.
Every quote is different and chosen expressly for that person.
The comments are open. This means no bonds exist, no guidelines. Simply everyone will be able to answer as they prefer. For convenience, the contents will be expressed in Italian and English. I decided to keep the quotes and the comments in their original language (if it was Italian or English) to avoid the misunderstandings of the translation and not to loose the shades of meanings from words which are not mine and to respect the sources and the intents of my research.
Thank you.
Pierfabrizio Paradiso
Artist and Performer, he lives and works between Milan and Berlin.
He has been performer for artists such as Lothar Hempel (Giò Marconi, Milan), Ei Arakawa (Artissima17, Sec. “The Dancers”) and now for the company Signa (Copenhagen/Volksbühne, Berlin). He attended the Academy of Fine Arts of Brera and he got an MA in Visual Arts and Curatorial Studies in Naba; he has been Tutor for Projects for the department of Visual Arts. He takes part also as professor's partner in activities and classes for Fenomenology of Comparative Arts in master of Light and Landscape Design inside the Academy and for the class of Last Tendencies in Visual Arts with Art curator Marcella Anglani. He is coordinator project and belongs to Trama21 - Research Group for Contemporary Art. He took part at the 12° International Architecture Exhibition - La Biennale di Venezia with Maria Papadimitriou in the the project “A Way to Grow” inside the National Pavilion of Greece. The aim of his research is to enact the everyday as something unexpected, reconsidering the blank as a space of possibility for a common construction of a new Imagery, where no artists and no spectators are called to play defined roles but everything happens as an Exchange.
