ALL THINGS HAVE A LIFE

 Alessandro Chessa - Leonardo Chessa - Piergiorgio Mulas

 Spazio Felice 52

Roma - Via Cavallotti 52

25 - 26 - 27 - 28 September

From 6pm to 10pm

(free entry)

Opening Thursday 25 September at 7pm

Things live alongside us, they remember, they dream.

Even if they are now wrecks or scraps, we can have them tell us their stories,

their memories, their vision of the world.

We can find traces of their existence in the universal memory of the Infosphere.

These memories, these images and sounds — we see them, we hear them.

They surround us. They offer a new perspective on the future.

All that remains of Splanc3 are some wreckage: a hand-painted fuselage, a turquoise propeller engine, and a red tail stabilizer.

It has passed through the hands of many children. Now it no longer needs wings to fly.

Reassembled and hung by a thread, it can project its memories and its dreams of being an airplane.

S62 is unusable, a discard. It has listened to the voices of a thousand and one phone calls, but now it’s out of use, replaced by mobile phones that mock it. Even in this state, it can still have a glimmer of life, try once more to connect with the world, and offer us ancient conversations and new calls in unknown and mysterious languages.

PAST EVENTS

 Cagliari - Via Mazzini 6

(10 meters from Piazza Martiri)

25 - 26 - 27 April

From 6pm to 10pm

(free entry)

Opening DJ Set, Friday 25 April at 7pm

PRESS REVIEW

• "All things have a life": the new low-profile futurism - QE᛫magazine (translation on the left side menu of the website)

LO-FU MANIFESTO

The aesthetic instance of Generative AI (GAI), the one flooding the media with hyperkinetic and hyperrealistic images and videos, even to the point of falsifying the very reality it aims to celebrate, seems like an unstoppable mainstream impulse by now. Photography at the end of the 19th century had pushed the painters of the Divisionist movement, which was inaugurated in Milan in 1891, to go beyond hyper-detail in the description of figures, favoring vibrant and filmy brushstrokes that would break apart and reassemble the representation of reality into larger elementary fragments, almost as if to reveal its hidden side. Today, GAI, the emerging new technology that generates multiple possible realities, could similarly push us to break the trend toward hyper-definition and hyper-aestheticization of the artificial worlds it is capable of creating, in order to delve deep into the machines’ imagination and bring to light their raw, visual, and sonic memory, even in its most hidden and unsettling aspects. In the 20th century, with Futurism, after the Divisionist experience, technology had made a return as a protagonist, almost to celebrate the presumed war glories that were yet to come. What new role then for GAI in the current process of artistic creation?

Like in an updated proposal of Aeropainting for our times, we present Splanc3, a prototype model of a shattered and decomposed airplane that GAI can help us revitalize in a game of mirrors, associative memories, and sound reverberations from the Infosphere.

At the threshold of the 21st century, we would like to inaugurate a new kind of futurism that does not foreshadow a dystopian world of devastation, as has unfortunately happened in the past, but that leverages technological innovation to better understand who we are, how the world around us is made, including all the things that accompany us in our everyday life.

With the Splanc3 installation, we want to propose an aesthetic line of resistance to a stereotyped and massified beauty canon, governed by uncontrollable algorithms, favoring an intimate exploration, not sweetened by digital special effects or ‘generative’ automatism, in which the human artistic work emerges forcefully. So, a less celebratory futurism, one that better captures the fallible and potentially dangerous aspects of new Artificial Intelligence technologies, and that calls back to the countercultural urges of the lo-fi/lo-def movement. A futurism free from unconditional enthusiasm, that also considers the weak side of machines, without, however, falling into Luddite extremes. We could define it as a low-profile futurism, with low aesthetic intensity: lo-fu, to summarize, with an expressive impulse that is less dazzling for our consciousness, but deeper, closer to the unfathomable nature of our being human and of all living and non-living beings: of all things, in short.