Exhibitions, Italy, Sassari, Alghero, 21 June 2014
Once again, Blublauerspazioarte manipulates its identity. It strips of its private function and puts on clothes, usually worn by urban space, that transform its white cube into a huge billposting wall.
The operation is simple. Roberta Filippelli, inquiring of the everyday and the processes that cross it, intercepts the choice of the city of Alghero as the seat of the Gay Pride 2014 and re-elaborates it in a two-coordinate formula: one format, the poster in the standard size of 70x100 cm, and one code, GPAHO210614, that contains the short-form of name,
place and date of the event and that is shared by the artist as a generative matrix of a variety of visions and works. An artistic collective action, so, more than a conventional exhibition, that adopts the poster as creative pretext to deal with a social issue.
In Chinese culture, from the dynastic times, there was an instrument that allowed anyone to speak and express their opinion about people or events: the dazibao. Literally "big-character posters", they were big wall-newspapers posted side by side in public message boards with the prohibition to remove or cover them without the consent of the authors.
Freeing them from the original political meaning, we can imagine that for GPAHO210614 each artist has written his own dazibao and has posted it in the blublauerspazioarte public bulletin board in order that everyone can read it. A bracket to reflect, beyond the rhetoric, beyond any forced militancy.
Laura Vittoria Cherchi
The operation is simple. Roberta Filippelli, inquiring of the everyday and the processes that cross it, intercepts the choice of the city of Alghero as the seat of the Gay Pride 2014 and re-elaborates it in a two-coordinate formula: one format, the poster in the standard size of 70x100 cm, and one code, GPAHO210614, that contains the short-form of name,
place and date of the event and that is shared by the artist as a generative matrix of a variety of visions and works. An artistic collective action, so, more than a conventional exhibition, that adopts the poster as creative pretext to deal with a social issue.
In Chinese culture, from the dynastic times, there was an instrument that allowed anyone to speak and express their opinion about people or events: the dazibao. Literally "big-character posters", they were big wall-newspapers posted side by side in public message boards with the prohibition to remove or cover them without the consent of the authors.
Freeing them from the original political meaning, we can imagine that for GPAHO210614 each artist has written his own dazibao and has posted it in the blublauerspazioarte public bulletin board in order that everyone can read it. A bracket to reflect, beyond the rhetoric, beyond any forced militancy.
Laura Vittoria Cherchi
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