TWO FACED MONOLITH “PLACE DE LA CONCORDE”
CIRCO MASSIMO – ROME
from 24 November 2013 to 29 January 2014
CORRIERE DELLA SERA – 1° pagina Edizione Nazionale del 29 Gen 2014
CORRIERE DELLA SERA (web)
IL GIORNALE DELL’ARTE
ROMAIT – Interview
ABC Spanish newspaper
Un monumento gigante, e ilegal, en el centro de Roma
INSIDEART NEW YORK editorial staff (2016)
L’EREDITA’ DI MONDRIAN IL GIORNO DEL SUO COMPLEANNO
TV SHOW / LA7 – Coffee Break – Episode 1 February 2014
Guest Comments in Studio:
… the provocation is extremely successful, he has mocked everyone. The monument is not a disfigurement with respect to the context … it was so beautiful and well placed in that context, that no one went through the mind to say “what a bad thing, we call the town” … who saw it, and certainly someone there he saw … he thought it was a normal exhibition of contemporary art, things that the City does not … The protest is in fact on the exhibition spaces, the lack of cultural programming … that artist should be rewarded, he was a genius
Giordano Bruno Guerri
… he did an absolutely brilliant operation … he challenged power and his field. Here there is a project, first of all advertising self managed in full, and then of mockery of those who can not control their properties that are then public goods … In the impossibility of being a normal country, we are still a brilliant people./span>
… talking about human resources, human capital, even in this case you find the creative and intelligent Italian who reveals the idiocy and the lack of bureaucracy
NEWS – SKY TG24 / LA7 Coffee Break
A passage taken from the book “MONDRIAN – The Disappeared Paintings“, from the Chapter presenting the INSIDE MONDRIAAN PROJECT
[…] Among the installations, the one that undoubtedly had the greatest “attention” is the “Monolite Place de la Concorde”, better known as the “Monolith of the Circus Maximus”.
In this case the experimental work was not the realization of the work itself. Yes, of course, it is part of the Inside Mondrian Project and therefore should not be seen as an isolated element, but I used it to experiment with another formula, that of “occupation” of a space with a “presence/absence” . The silent materialization of a cumbersome object, seated to observe an indifferent City, a dull City, a City in disarray, bent over itself in a semblance of fake well-being.
The intention was precisely to “test” the attention of a city like Rome, its Institutions and its People. To prove that it was a city in a state of neglect and physical, ideological and social degradation. In addition to the fact that he lived in total immobility and lack of concrete initiatives for art in general (we are at the turn between 2013 and 2014 and the chronicles of later times, they have fully demonstrated).
The real “Art Work” was not the Monolith itself. The installation was just the pretext, the instrument, to perform a real Performance and show that in Rome you could really do everything. Placing a work of that size, in the most important and visible part of the City and noting that for over two months nobody has noticed anything, has undoubtedly been an unprecedented “Action”. This is the “true Art Work”.
After stop the Performance with my auto-complaint, the one that for the whole city was an “absence”, has become a “cumbersome presence” and who has observed only the Monolith, has not been able to see beyond his nose, has not seen or did not want to see, a “Ruined City” that served as a pedestal. It is no coincidence that I have chosen one of the most important archaeological areas in the world. The historical “ruins” that used to frame the Monolith were opposed to the “ideological and social ruins” of the entire city. […]
A protest “deliberately unappreciated”
(open letter from 25th February 2014) CLICK HERE