Mercedes-Benz SL350, BMW 3 series touring, Audi 80 2.0 E, Opel Corsa 1.2 i, Volkswagen Lupo 1.4
‘It is never easy to get back from the object (product or work) to the activity that produced and or created it. It is the only way, however, to illuminate the object’s nature, or, if you will, the object’s relationship to nature, and reconstitute the process of its genesis and the development of its meaning.’ (cit. Henri Lefebvre)
To this project, the artist investigate into the relationship between man and machine. In particular, this concerned the role of car as an object and symbol of both popular culture and human evolution, a combination of identity and technological progress.
‘We invented the machine, the robot, the man as a machine. Now, we are trying to humanise the machine, to make it similar to a man, turning it into an anthropomorphic object. We are trying to humanise machines as we have become too dependent on technology. In fact, we are becoming technology. We don’t want to live in real life but, in real life want to make another life. However, whilst its practical use varies in different countries, it often appears as a reflection of the economic and cultural structure of its location. The car can be considered a basic need. Meanwhile, it is also a status symbol, which becomes the mirror of one’s own financial worth.’
These parallels between object and society, human and technology can be further extended upon when widening the scope to more current political topics and popular-culture.
Likening Germany to the many cars it produces – and when considering its recent position as powerful leader of the EU – the highly technological substance of the car as its icon does not seem to be too much of a stretch of the imagination. Similarly, for the less well-favoured (at least in contemporary European times) Greece, ancient monuments represent a nation whose financial insecurity has veiled its history as the cradle of western civilisation. The Parthenon is undoubtedly the ultimate symbol of ancient Greece’s cultural power while the car is the ultimate symbol of Germany’s engineering prowess and, with the United Kingdom’s possession of the Parthenon sculptures, it was with some fluidity that our perfect idea became that much less perfect and that much more real.”
Text extracted from Out of Sight, a collaboration with curators Amy E. Brown and Miriam La Rosa at Five Years gallery, London 2016.
Photo credits: Gianfranco Gorgoni, Federica Russo, Samantha Torrisi