* FORGOTTING IL NAPALM *

* WITHOUT TITLE *

“Without title”- 1998, is composed of a wood stage over which there are two trestles recalling the image of two crutches. A sort of “survivor” hangs from them. It’s a trunk without legs, head and hands, but only with the dirty and tied up stumps of them and the two arms. In the back of the trunk there’s a demolished television, maybe the cause of the massacre; on the base of this group, there’s an alms saucer to let the passers-by give alms to the “poor cripple”. The real strenght of this installation is its power to get puzzled when one realizes the “survivor” loosed his head, so he’d be dead, but he really seems to stay there waiting for the “click” of a radio-control. Then he’ll “turn off” forever.

* NECESSARIO MINIMO *

A wall of about six square metres prepared like a memory store, a post-atomic shelter where memories and things remain, togheter with pieces of emotions and fragments of words. Old televisions with verse written on the glass and lighted inside by road winkings, ancient radios, old telephones, tins, boxes, film reels, oxygen bottles, heterogeneous discards, waste and recovered matters; all of them homogenezed and moulded again with a silver monochrome bath, like a temporal stratification or an atomic explosion. All this keeps still: only the lights move, from afar the winkings, horizontally the red verse in loop running through a title machine. It’s a work thought in a dark context (it was made in a night-club) which speaks and keeps silent at the same time; it’s a hope experiment of poetical metalanguage and direct-indirect transmission; it’s the possibility that the onlooker is colonized by the continuous red flux or only to keep some fragments. A two-parts’ sampled sound completes my creation, where in the first part there’s my positive voice which recites some verse using three different tones and timbres, as though there were three different readers. In the second part there’s my natural timbre of voice, but perfectly on the reverse, like a new language with strange sounds.

* NE JETEZ PÀS AUCUN SOBJECT PAR LA FENETRE *

“NE JETEZ PÀS AUCUN SOBJECT PAR LA FENETRE” is composed of three recovered sets, completely emptied and silver painted, externally closed by metallic grates. Internally, these televisions are closed with some backgrounds which shows puzzles of multiples photocopies of one of my self-portraits “electrified” by fluorescent flashovers. On the grates, photocopies of a text written with the dymo which has been divided in three different parts (composables or decomposables parts, like the T.V.), while some wire’s “flashovers” run away from the inside. At the top of this sort of totem there’s a great black-beetle to be inflated. It’s a middle course between the totem and the electric grate which burns the insects to ashes; ironically, the grate prevents one person from throwing out of the window; the texts and verse effects go on, and also it’s possible to alternate their succession and the free choice of the watcher: so, the text becomes a “composable” object.

* FLYING JACKET *

It’s a coat of the Air Force hanging with open arms as though it flew. The jacket is open and lined with some images which have been produced with the above-mentioned conceptual process; these images show some reaction turbines with uncovered circuits. Moreover, the lining of the coat is full of very small white lamps which let visibility be clear emphasizing the work. The jacket shall be part of three pieces in succession of flight, with the sound of jet roars at variable volume.