RESURRECTION MACHINE Claudio Cavallaro
The first machines are we
The first machines we are. Repetition and repetition of actions and behaviors are the soul our current relationships and our lives. With speed he slipped into a system with automatic controls that leave little room for spontaneity of action and thought. It 'difficult to accept more and more to resemble the machines that we have created almost in our own image and likeness, but it was not expected to gradually align the repetitive motion of a mechanism. The story tells of this too. The new millennium, celebrated almost ten years ago, is evidence of a biophysical change of pace, a frantic acceleration of daily actions to the detriment of a world less and less fiction and more automatic. In the meantime, we close ourselves gradually, in adoration individual and is only a plausible and consistent method of work and production work.
The resurrection of the machine is the paradox that the man is the protagonist and the means, the increasingly close relationship with visceral and the decreased distance between it and a mechanized process and our existence.
In response to a rethinking of this has already outlined a resistance that opposes the automation of meat mixed with the increased sensitivity of reflections and elaborations of thought. The art is certainly not to look, but has refined the tools and enter the far corners of reality as a liquid. Consumed in the performance and walked the streets historically known, the possibility arises of an aesthetic one another, of a diffuse creativity, un'estetizzazione of the newspaper, construction of participation as a network. These issues were, in large part addressed by the Futurists and the Surrealists and Situationists in the second round by trying to break the isolation of the individual in society and freeing the trivialization of ideas and behaviors, automation today.
So Debord pointed to the environment architectural sense, but not in the physical, mental and other cities and places become the plot of dynamic random intersections and coincidences illogical. So Claudio Cavallaro working on a symbol of labor and hard work by reflecting the connections, otherwise invisible, between the death of hazardous machinery and automatic rights. The specific work on the site can reveal objects, only apparently dead, who come alive with the artifice of the fluorescent light, placed in the deepest caverns of giant machines. The investigation into the mill and pasta factory in the County is developed by identifying the space as a great and fruitful ready-made, dying from the production point of view, but still able to communicate and convey messages. The Resurrection Machine language is produced from human interaction and context as an action that establishes a second trade intersubjective ethical and aesthetic double track which operates on a dynamic memory and takes into account the cognitive and increased responsibilities of ' artistic activity. Claudio Cavallaro advances with a direct method and investigative process aimed at seeking solutions disvelatorie also show that the dark side of the world or the things of the world that we prefer to ignore: the horror of war, ethnic conflicts and religious violence, poverty and misery of millions of people. Without this, complex, painful, uncomfortable, but real and often hidden the information that, long arm of the economic and political power, control and repress relegating the oasis of mass distraction. Art as a countervailing power, writes Bourriaud, and in this system, the artist confronts the "other". The work also comes from the roots in place, free from any manipulation and pointing the way identity against any kind of stereotype.
The mill produces the raw materials essential to the livelihood: flour. With a few scraps of it mixes with the artist who created the ready-made cover and trigger questions about waste of 'over-consumption and dishonest and serious breakdown of food in the world. A map to identify places in the world who are denied food. Some machines are literally invaded by butterflies, a large number of scraps only operated by Claudio Cavallaro with the aim to reveal the relationship between the delicacy of the machine and the monstrosity of being. The artist pursues Syracuse, since the first inspection, common action and collective creative thinking of a time display supported on its own logistics and energy group, thus addressing the serious difficulties caused dall'esiguità fund for young artists.
The choice of exposure in a place like the mill in the historic district of Modica is rooted in the desire to reposition the art and direct involvement of the public mind that the city has seen the birth, a few months ago, the first library specializing in contemporary art The CoCA Center of Contemporary Arts, clear sign, among others, the strength of which belies the claim that contemporary art contemporary art, Modica, may be something to fear, but rather represents a wide range of sharing and revision of certain human attitudes too marked by cliches and false identities.
Francesco Luciani
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