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Genesis, Third Narrative, 2008 Lightbox
Curated by: Valerio Dehò

Via Interrato dell'acqua morta 82
37129 Verona
October 6th, 2012 - January 31st, 2013
Opening: October 6th, 2012 6:30 PM - 9:00 PM

+39 045 8032316
3.30 pm - 7.30 pm
exhibition, marco bolognesi, verona, la giarina, photography, mixed-media, installation, video-art



Death has future

Valerio Dehò


The thesis of the creative construction of the world has a long story. Generally, art is a mean of discovery, as sciences, but we can discuss about the creativity of the two methods, the difference is that sciences have to verify and to demonstrate.  In arts demonstrations does not exist. Anyway, an artist has always to know that his vision needs some elements of truth. Some artists, like Marco Bolognesi, insist to give a form to “the future after the future”, to “the body after the body”, to somewhat that we do not know but we think it will happen.   Art has to be autonomous but has also to live the contradiction of being interesting and important because it is strictly bonded to the idea of living in a better world.  If we don’t believe in this possibility, all becomes anonymous and empty. Why “making art” and  “making worlds”?

Bolognesi wants to build an own space, even if he wants to let us imagine the space in which we’ll living in the future. Its name is BOMAR UNIVERSE – the synthesis of his name – but also  “Bellic Operation Machine Assembled for the Republic” a political/artistical project  to re-populate the world with cyborgs or to resolve the problem of life with technologic elements. Bolognesi does not only see the future, he wants to create it. He believes strongly that the “interior space”, the part of universe that constitutes our interior landscape  has or finds occasions to come out and build an exterior global world in which in and out are the same thing. He adheres to a cyberpunk aesthetic, he is friend of  Bruce Sterling, but he worked with Vivienne Westwood in London. He lives of future but he is able to perceive the present. It’s only a question of management of the appearances we want to dress. Finally, we become what we see and we conform ourselves to how we are perceived, it’s normal.

He’s a visual artist, totally visual, but he likes stories rather than single images. He tells what he choose to imagine, assembling similes, assonances, consonances, reverberations and distortions.  Mentally, he is in the  mainstream born in the exposition “Post Human” of 1991 by Jeffrey Deitch. His photographic work, his installations and films begin and return always to the theme of skin and body, of mutation.  Probably, there are also personal episodes that determined this world’s vision, but it’ mainly a cultural choice. To merge past with future, meet with transistors: ever and only body. The body of naked models or modified by technology, sex everywhere, bondage and smell of leather.  His film of 2008 -“Black Hole” – represents atmospheres that only the genius of Edward Kienolz has been able to evocate in a mix of disillusion and attending,  heavy bodies, weak lights, yellowish as mucosa, attending of life passing through death.  It may be that we don’t think at contradiction, but we live it. With the death’s idea of the art that is expanding.

All the exhumations of neo-conceptual, neo-futurism, post-modernism etc. are expositions of dead bodies. We cannot imagine a living future, but future can express the contradiction between a better world and a cramped manner in the extreme respiratory act.  

Maurice Blanchot says that there is a difference between the death and to die – la “mort” and “mourir”. Death can express itself in a tragic act or in the last breathing, to die is the neutral movement of “absenting” themselves,  of floating off for flânerie or nomadism. Marco Bolognesi knows that the unique life in art is death: only death bodies are living, or they are mummies that work a lot. The things that will come smell of cemetery, as in art, where we are excited about  reanimation techniques, about remakes   of remakes, about that infinite mirrors’ play in which images remembers other images without discerning the reality. It’s like to be in the Orson Wells’ film “The lady of Shangai” in which the real life escapes also from the bullets of a killer confused by the multiplied images. Infinity dazzles. Infinity belongs not to us.

In “Humanescape” of 2012 the photographies are so: a naked body in a childish landscape made of little puppets and Meccano’s pieces. A toy. Somewhat you can do manually, but also a landscape that mixes  daily life with extraordinary. The extreme precision in mounting the images, the infinite layouts, is always searching about the balance point. All is constructed, calculated, in a set that uses digital effects but stays away from them. The photographic language of Marco Bolognesi does not love digital mixtures. He likes to work with sets, with make-up, with the part of technology that’s not a shortcut but is still sweating and fatigue. 

Body again, but also a long work to construct an image that could be easy to tell only by means of cinema, it’s a story.

Bolognesi has still that craftsmanship professionalism of Mark Carpenter, the mythic filmmaker “District 13”, “Dark Star” and “1997: escape from New York”. From  “Dark star” the artist took the title for an exposition in 2009 in Parma, cured by Elena Forin, which presented the project Genesis:  12 light box e one column/ totem  in which there are tridimensional faces of a new human species ibridized with machines.   Bolognesi’s future is permeated with primitivism, pop culture, comic’s culture and thousands of links to punk.  

He is interested by mutation, by logic and causality of the transformations that put in doubt the biology of physical changes and the opening to parallel universes. The body but also its interactions with fetish universes, cyborgs, the cinema imaginary of David Cronenberg and Tim Burton or the literature from Phil K. Dick to the unforgettable James G. Ballard  of “Crash”. The universe created by Marco Bolognesi has a lot of facets, the attention to the woman and her face comes from the attention to change, make-up, changing personality with a new hair colour or an eyeliner.  The attention to glamour comes from this sensibility. The remaining is in the evolution of a literary culture of anticipation in which the image of men and machine are merging in a floating hybrid that can be modified by circumstances and by technology. As in “Neuromante” of William Gibson, the border between computer and man is not in the nervous terminations but in the memory of another era and another body. Life and death becomes contradictions in a re-programmation of future that only art is able to anticipate.

The artistic and literary culture of Bolognesi comes from those personages and intellectual that in the eighteen’s and the nineteen’s  announced a new world, probably not better but less monotonous and made of a strange mix of past and future, of ancient and absolutely new.

On the other side, his culture comes from the cinematographic imaginary, Italian also, from B-movies in which the perfection of image is subordinated to the ambience, to believing in what you see. Film in which the incredible is underlined till irony, paradox. The technology in Marco Bolognesi it’s not an absolute, not even in the language, but has ever something of indefinite, of lacking, very far from perfection and boredom.