The truth of the jester
You have been described as “the jester of the art system”. Do you think this definition fits you well?
Definitely. I always found that the jester – in its modern conception – particularly fitted my activity and the comparison process with the world of art. It has always been a liminal character, on the edge of the court but still a part of it: someone who mediates between what is inside and outside of it. The king trusts him and he’s the only one who’s allowed to make jokes and laugh while telling the truth.
Which meme suits you best?
It’s hard to choose. A meme is a linguistic tool that is ontologically liable to mutations, fluxes and instability (not by accident is one of the chosen languages of our time). For this reason, the representativeness of each single meme has a limited and momentary lifetime, like anything that is viral. But I certainly can tell that I get excited every time I stumble across memes featuring “Kermit The Frog” or “Smudge the Cat”.
His Approach to the Art System Is Ironic and Desecrating. Among His Projects THERE Is Opening a Stand in front of Artissima
First and foremost you are an artist. Do you think your Make Italian Art Great Again page to be your best artwork?
MIAGA is just an outgrowth, a digital communication tool that I run entirely by myself and which acts like a sounding board for a far more complex activity: an attitude that examines and deconstructs logic systems, hysteria, and contradictions which characterize that social framework we call “art system”.
Your approach to the art system is ironic and desecrating. Do you think there should be more irony in the field of art?
I’d say auto-irony, rather than irony.
Aren’t you worried about not being taken seriously when you make your artworks?
The problem lies more in those who consciously choose to superficially look at what I do. Actually, I’ve always been very serious… about not taking me seriously.
What are the difficulties that a social media manager who deals with art can bump into?
Beside the difficulties concerning technical, creative and – we all know it very well – management issues, a large part of responsibility is to be ascribed to a lack in courage and the risk to take on new challenges (and I’m speaking about who’s involved in this field and everyone who surrounds it).
I know you’ve just published “Manuale per giovani artisti (italiani semplici). Meme e sistema dell’arte italiano” (Manual for young artists, basic Italian people. Memes and Italian art system) with Postmedia Books. What this goal means to you?
For me, the manual represents a way for pulling the strings of a threeyear path but, most of all, a way of institutionalizing a work that didn’t have a physical equivalent. I needed to summarize the things I did so far and to legitimize them in sight of further developments.
Future projects?
I want to open a sandwich stand in front of the Artissima’s Oval (I’ll call it Paninissima), to oppose the exclusive gourmet monopoly of the fair restaurants, on behalf of a more honest and enthralling “stadium-like oily food”.
What advice would you give to a young Italian artist?
Advices are made not to be followed. Hence, buy my book.
