The art of the digital "daily" / versione italiana
In written introductory to a its installation “virtual Truth one”, Wladimiro Bendandi places endured a problem that would demand not already a treaty but an entire library centralized on the argument “we”: we, nowadays, not only stretch to forget but we are also more superficial. Perhaps with “we”, the artist means the singular-plurale human, the being with, the being in common, or “we-age”, in this historical moment, within this geographic segment that is Europe, or even the so-called western civilization, or also, globalizzati we, mondializzati, we bearers of the only thought? We give for discounted that those we refers one “society”, ours, in the age, paraphrasing Heidegger, of the imposition of the technique, the subordination of the man to the technique, to its some it are dominated instead dominating it. To say that we are in the age of the virtual truth, speaking about art, does not have much sense: the art always has been virtual: a picture of the Rinascimento, a sculpture of the age classic-Greek, a rupestre recording of the Neolithic one, etc Ici n'est pas une pipe, would say ancor'oggi Magritte. Parrebbe more corrected to specify that we live in the age of the digitized virtual truth. On behalf mine, but, I prefer the affirmation of Heidegger.
Like that it is and firm remaining the interpretation freedom, Bendandi writes, like saying innanzi, than we, today, stretch to forget and we are superficial (in the visual analyses as in many other things). Conforming me to its linguistico game, I want to add that we are “confused”. And if you did not have other replies (I could enumerate some migliaia), I would deduce it from its installation. Not already in sense that its “work” is confused, but in what it interprets the confusion that dominates the world in this particular historical moment and it renders it explicit with “a tidy” procedure and, at the same time, pregno of “lightness” (was in order to say, rations them and simple, but they are words of other times). Riproponendo the old Lukàcs can say that the confusion not be the chaos and be for this that it be rappresentabile; the chaos is not imaginable from human mind: the Apocalypse of Giovanni has not been able to render it. It must resort to a allegoria, that is to one fable.
Therefore, we stretch to forget banally (: we have lost the historical memory), we are superficial in how much we have difficulty to distinguish and we end in order to group elements and phenomena not based on a “truth” of bottom (of foundation, origin), but for verosimiglianza that is exactly category of surface: we are confused. The confusion can be external to we: mixture, disorder, disorder, or inner: state of the mind that is incapable to discern the true one. And siccome “true” and “truth” belongs to the metaphysical dictionary that the greater contemporary thinkers would want “to exceed”, limits itself to say: state of the mind incapable to discern the real one, the truth. Not draft of a mental disease or not still, but sure of a symptom that it precedes and it accompanies a general uneasiness and just this generality us must make to reflect. It could be said that we are all in the same boat, who in aware way and who without to become of account, in a rather churned sea. It is spoken in fact about a sick planet: earth sea air, plants human animals. An equilibrium is broken, someone writes of a point of no return.
With a stratagem, Bendandi allegorizes a segment of truth to the capacity of all, “a daily” truth that the technology has rendered partially averse. In house mine, as an example, for means of five push-buttons I can, with various modalities, to make to work five apparatuses (household-electric) different. It is not the case to repeat the words here that I pronounce those times that I use one of they in place of an other. Much more than, what it serves, it watches case, is not never found to hand capacity. Still an example: I had a furnace to microwaves that worked perfectly. When mine is itself broken was intention and of my companion to resume of one equal. To figure the face of the vendor: but we go, she… a modern person therefore, will not want… etc at all Conclusion, we have taken a furnace to microwaves with many buttons and bottoncini, clocks and one myriad of ideogrammi, in a position to carrying out thousand functions: hour lies made unusable in its niche, monument of the consumismo to the vanity and the imbecillità. Mine, however, is very far the being the “intelligent house” already represented in varied way from the reviews of the field: to imagine itself, to its inside, the tragicomiche disavventure of a poor postmodern Charlot or, even, the new “vacations” of Mr. Hulot of a Jaques redivivo Tati.
These vary tools which I have made signal, are equip to you from ideogrammi, more mark them that signs, in order to say it with the semiologi. Outlandish this “evolution” of a writing that at the beginnig of the human civilization had left from the pittogramma in order to pass to the ideogramma and at last to linear the alphabetical writing. Hour, with a paradoxical historical resource, while the technology astounds to us with equipment from fantascienza, uses a writing pertaining to a civilization that, in Europe, precedes the age of the bronze. Naturally Bendandi picks this real aspect (or of the real one) and works on it trasfigurandolo in a figured language. Photographer this tipologia of ideogrammi, “eliminating them from their original centers”, replacing them with “symbols from the graphical shape and the meant one” different, “going to modify the riconoscibilità of the element to which they belong” (I cite the artist in order to evidence of the knowledge). Therefore, in the photography like in the video, the ideogrammi miscelano, “before then posizionano in various centers from the meant one of the reading is originated them stravolgendo and modifying the riconoscibilità of the object”. Bendandi therefore transports from the truth to the writing (or if it wants to the language) that same Displacement that us power of attorney uneasiness: it organizes the disorder multiplying marks them context outside, provoking that that the semiologi they call “noise of the communication”. They said with much irony and, sure in my case, autoironia of reader.
The "daily" of Bendandi, like ours in general terms, is similar superficialally more to a laboratory of NASA in which, as the optimists say, the future is constructed. Onlooker the absence, in the installation, of every and whichever human shape or sign that reproduce the “face” (Levinas) human. Also this aspect comes second picked from the artist a thought, today, much diffusing. Draft of the defeat of the umanesimo from part of that imposition of the technique of which it has been said. A very strange future to think to us would wait for to us well. We become account that we are losing? As Hölderlin wrote: “Full of merit, but poeticamente it inhabits/the man on this earth”. We want to cancel those in favor of the merit poeticamente? Sure it is not easy to think to change a world that already is changing on behalf its: famous thesis of Marx stated Heidegger of one on purpose. But then that to make? Creed that these aspects of plurale the singular existence/(and of the praxis) go rethink to you integrally. After all to think is already to make: “No thing is where Stefan lacks the word” (George) or the image. In this within it is from emphasizing the radicalità of the art: the irreducible intolerance in the comparisons of all that that it would want constituted.
From written how much it can be deduced that the problematic ones raised from Bendandi are extraordinarily rich: it is right to appreciate of the not disgiunte lightness and the irony from the complexity and the present time.