In order to produce a new work of art a new behaviour is needed. I think that we are in a phase in which behaviours are extremely diversified. The world is full of different phenomena, art too.
I perceive a seed in our interventions. It seems to me that you businessmen also have the desire of assuming a creative stance, free not so much from the obsession of cost and profit, free in the sense of being able to put into doubt certain acquired mental equilibriums. We offer you our language, we don’t want to offer you our objects. This language of ours is born from a procedure of spontaneity in the lands of the possible. The lands of the possible are lands, obviously, that there is uncertainty and in uncertainty lies the future of the company as well as that of the artist. Uncertainty means possibility, while certainty means impossibility. If I head butt the wall, the wall remains but my head breaks. I would rather dream, think, imagine, propose – as I am doing right now – energetic relations, absurd canons. We are within energy, there are passing neutrons everywhere. We can offer you who are in the economic system a system that doesn’t allows jokes, that doesn’t allow a way out of its confines, the possibility of letting you participate in our little system that is separate from the economic system. We would like that, alongside your intelligence, you admit the presence of a parallel intelligence. To do this would mean to have understood art.
In the world of painting there is an allure that is not discrete: it is a dangerous allure that derives from this untested parallel intelligence. Only nature is mathematically certain, implacable. There is death, matter, energy. But there is something that cannot be understood. Philosophers speak of the propensity of reality on one hand and of unreality on the other. This propensity can be interpreted only through art. We offer thins unperceivable thing, a sort of dust, and we make ourselves available to your magnets.
These meetings presuppose, along with our goodwill and good humour and irony, the will to create a bridge between ourselves and a world that is parallel to ours, the world of production and of risk, which is just as important. We produce things that risk nothing apart from the possibility that people might not understand them. On the other hand you produce things that require immediate return in terms of approval of quality and social fairness. We are happy to exchange ideas. Naturally we discuss the world and the most unbridled of utopias. We appear to people out of touch with reality. But it’s not like that because our work is very specific and it can build the foundation for running new risks. We affirm indeed an inversion of perspective of the word sponsor, in that it will be us who offer our sponsorship to people with great responsibility, wealth and power in the world of business. We ask for nothing if not sympathy, the will to collaborate, an exchange of ideas, patience and a sense of humour.
Artist do artist things, but at times they also do things that go beyond into other territories, set up a Foundation aimed at the younger generations. In all these years this Foundation has held important events, round tables, encounters and works of art. What does this have to do with anything? It is fitting because my whole life I have done things that contain the question: What does it have to do with anything?
Initially I was a stockbroker and I continued doing this for a while, but there was something that gradually began to disturb me. Naturally, it is important there be a market structure, but I personally began to prefer the idea of counterbalance which presumes a different way for things to function. Counterbalance a priori is based on reciprocal exchange that creates new expectations between people who decide to work together. I think that I abandoned my work as a stockbroker for various reasons, but the most important one was without doubt the fact that I had this sort of utopia or certainty regarding the principle of exchange and counterbalance based on reciprocal encounter.
We are meeting here for the first time and for very differing reasons, but I believe that there is something very specific that unites us and that is the fact that we all commit our lives to this.
I truly believe that there are works of art that can spark a collaboration between us. I feel the need for this enrichment.
I think not only our business but every business all around the world is inspired by the ideas of artists. Even if they say that they don’t understand art. The ideas of artists influence what you are doing with your working space, the change what you are doing, the way you present yourself . Companies always use the ideas of artists. Maybe they also buy art which can be helpful to the survival of artists, but this is not the point . The point is that they translate the artist’s into their business, the ideas they hear and see . It’s something you do not in a conscious way, but you do it all the time, it works. The ideas of artists keep you moving, I could never do without.
The fact of using something that is not originally meant for artistic activity can offer interesting potential. With the use of a space that is very particular the space can explode in terms of perception. An element of the bicycle has an electric automatism; it can be subversive in terms of perception, that is it can create a new space. Something which is very important is the idea that in the field of artistic activity anything is possible. Above all, it is not that a media is being used, but that the media becomes a carrier of signified and signifier. It is interesting when the media blends into the space. It is no longer the media of before and no longer the space of before. It becomes something that has yet to be thought up. When this happens, a new perceptive space has been created. This means that it works.
I believe in this little project and our challenge is to see how long it will be go on. I started Edicola Notte almost 23 years ago. My aim was and is to give to my collogues an opportunity to create a master piece in Rome, far from economics, just to offer something to the town. The program is becoming stronger and stronger.
The relationship between producers and artists normally is very delicate. Producers don’t want so much to go to exhibitions because they feel obliged to buy. This DAC project is different. Here first of all we want to exchange ideas, cultures and try to accept each other. Edicola Notte and DAC have a quite similar character.
My work is based on friendship and on traveling. I am a messenger, I like to keep alive all the relations I have. Sometimes I use a little camera to document what happens in one place and then bring and show it in another place. I do it worldwide. In this period signed by crisis it is very important to exchange information . We don’t understand in an immediate way what crisis means.
I think about the things one creates in a dynamic way. You start to talk, you have an idea or something that you didn’t foresee which creates something in your mind…
I always remember Mario and Dora saying: the gallery is not just about objects, it’s first of all a place of exchange. The most primary exchange is sound. Then, there is this mix between things and talking about things.
An artist is an agent of imagination and we need imagination to overcome the gaps. We all know that we are living in a critical moment and that we have to do something not to disappear from the planet.
Architectural relations are changing a lot, there are big changes in the way we are living, in the distribution of power, in the impact of the future. Architecture is much more complex than just a building. It’s a combination of many things. Today in architecture you need a dynamic way of thinking. You need to translate new ideas into architecture.
In my opinion, before even making works of art, artists are producers of immaterial goods, they are “producers of visions”. They give reality a new aspect because they look at it with new eyes. Boetti said that Caravaggio had invented the photocopy. The “caravaggists” do not copy the paintings of the Master, they photocopy his vision of space. In history there have been other great artists or artistic currents that have modified the vision of the cultural, social and political world such as Cubism and Futurism.
The nineteenth century was the century of separation from things, from disciplines; everything was separated. Everyday life fell to pieces. In the twentieth century, in particular in the second half, the conclusion was reached that all things are connected. Nothing is isolated, separate. When we talk of globalisation solely tied to economy it is just a figure of speech. Today all thought is connected. It is impossible that the artist does not know physics and does not know economics. All projects move in this direction.