The room has two different and opposing faces. The first one is the real one where the room looks apparently normal. The works of Balsamo and Borzì are discreetly arranged. They are in the drawers, in the wardrobe, they are the sheets and the bedspread (designed and embroidered), they are the furnishings on the bedside tables. Only the images that run on the television suggest that something is hatching under the ashes. Even the bathroom where you can hear the noises of the canecapovolto videos suggests that something is hiding. In the meantime, however, the viewer is able to immerse himself in the apparent normality of the room, enjoying the delicacy of references to intimacy, to a sexuality so delicate as to appear revolutionary.
Taking an OCULUS VR viewer, however, you immerse yourself in a completely different environment. The virtual space is exactly the same as the physical one. You can move around freely (apart from meeting other viewers). The scenario, however, is drastically different because the critique of Musso’s war passes through the repetition of dramatic and disturbing images.
In the end all that remains is the bathroom, where in the half-light an illuminated digital frame shows the transgressive videos of canecapovolto. They are fragments of images that deconstruct and reconstruct imaginary scenarios. Seated, the viewer has the opportunity to reflect on the languages and meanings of contemporary art.
The exhibition takes place in collaboration with the adjoining room/booth of the Display gallery, Parma.
Review of the Hybrid Fair and the White Garage “room” by Antonio Garcia Villaran, the most famous Spanish contemporary art influencer.
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