“Installazione Innaturale” (Unnatural Installation)

The evolution of arts through the centuries and milleniums had with work the maximum expression.
Work understood as relations between skills material and intellectual, critical and conceptual mastery are inseparable and essential in the making of artifacts and works of art. “It is the hand that made ​​man” the hand that did the art.

The man without hand

Think without the body is like art without the hand, without the sensibility that allows us to think completely. This relationship between body, hand and mind has made ​​possible the development of thought and the arts: the hand as a means of knowledge and development of thought, the drawing as a means of expression of thought and knowledge tool.
The thought of doing manual, is not inferior or less complex than the thought of the liberal arts. “How much does the aesthetic, logical, critical, planning, analytical thought owe to the hand work? At its materials thoughts? Where would humanity have gone if the thoughts of a man had remained thoughts without hands?”
Today the manual work is out of the artistic project and art contemporary doesn’t feel so owe to the past, the “choice” is just mental without material experience, without rethink, was truncated to connect with nature, with the object, with the Reason.
The draw is no longer the idea, no longer the begin of a process, is rather considered a limit to the choice: when I draw, I try to understand the object through the experiences (structural, formal, etc..), there is no other instrumental experience as the draw that can make understand the object, not as a path and mimetic experience, but as a process of knowledge.
Even in University, in Academy of Fine Arts and architecture, in the Polytechnics the practice of drawing has disappeared, at best you only use the descriptive side. In selecting students are favoured the concepts, the ability to speak, compared to the know-how and being able to draw.
You are gradually losing contact with reality, with work, with the production, with the knowledge of doing. No more eyes to see one another, but possible virtual indicators only, intangible, shadows of rebuilt bodies, no more contact with the other.
The reality is not perceived, attended by the senses, with the contact, but proven by the appearance of virtuality, without body without contact.
The body is no longer participating in the perception of the other, but is perceived as an obstacle. The art feeds on ideas from other ideas, choices with other choices, as found with other found.
It’s like the financial market: the money will produce more money, without job and materials, it will auto replay, without the participation of the body, with humanity. The body is rented, the work is rented, the experience is rented, so that increasingly moves away from the real knowledge. To become a knowledge alienated.It is envisaged that the informatic prosthesis, digital, robotic, can replace the hand with his instrumental knowledge, physical and mental.
Witnessing today to a Babel of individual languages ​​that don’t communicate with each other; that purport to be explained repeatedly by the merchants through the museums, the specialized magazines to become common language.
It doesn’t communicate more, there is a tower of power which precludes contact with reality, which precludes direct communication between men, even with animals. At the “democratic” supermarket we don’t buy animals but goods, animals were never born, never died, dismembered in their entirety, the fragment does’t rebuild all, no one dies in this world of the fragment, we reject the flesh who knows too much of blood.
St Thomas wanted to touch for completeness of information, not only the body as surface but the body as true in real forms. This totality of information and communication today is forbidden and hindered: the subversive movements, the insurgents in North Africa, keep in touch through the web, have become true, real, and they met in the streets.
The global authorities are afraid of comparison and of direct collision, that allow you to watch and know the others even when they are enemy.
In the past battles, in clashes between soldiers and armies, the men were holding the spear or sword with your hands, they had a direct contact, they saw the dying enemy, they heard his screams, they felt the smell of blood, today they try to avoid direct fight and, when it occurs, it produces a shock for the soldier. Many deserted for fear and for the horrors of war but not for cowardice, other soldiers have gone mad, committed suicide after melee, after the cries and the blood.
They invented the carpet bombing so the men can’t to clash – meet between their, for not to feed the rejection of war. The direct contact feeds the knowledge of the other and lays the foundation for peace; but with advanced technologies, the operator can continue the war to infinity because the risk is minimal compared to the human losses for the enemy. They constantly bombard from afar, they don’t hear the screams and don’t feel the smell of blood, and are also called humanitarian wars.
The invisible airplanes, the Drone without pilot controlled to distance, wargame without any risk for the operator: this is the so-called Clean War; “Clean for those who use these devices and for spectators, terribly dirty for civilian population victims”. The enemy has no face, it is a number, a target on the screen.Primo Levi during his prison in Auschwitz thinks about Dante’s verse “Here don’t takes place the Holy Face”, there isn’t the look of the self with the other. An alienated space without contact, without communication: the monitor and the button aren’t the extension of hand because there isn’t real contact, while the other hasn’t face, is mute and so must remain. This separation of the mind from the hand is recent history but already we perceive the damage, the errors and the horrors.

Leave a Reply

Your email address will not be published. Required fields are marked *


You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>