Photo: Gian Luigi Biagini


MAALISKUU / March
5.3. - 20.3.2014
Gian Luigi Biagini ja työryhmä / & working group
THE FATAL STRATEGY OF A PURE EVENT



Katukivistä ja symboleista koostuva installaatio tuo esiin ajatuksen esoteerisestä anarkismista. Siinä anarkismi vertautuu muihin hermeettisiin liikkeisiin kuten vapaamuurauriuteen ja sen symboleihin sekä materiaalisiin viittauksiin. Esimerkiksi muurarin tiili solidina rakenteena vertautuu katukiveen, joka on yhtäältä julkista tilaa rakentava mutta toisaalta myös ambivalentti “irrotettava” ja olemuksellisesti muuttuva anarkismin väline. Teos on osa taiteellista tutkimusta, joka pureutuu kapitalismin sisään rakennetun vallankumouksellisuuden halun mytologioihin. Näyttelyn on tehnyt Gian Luigi Biagini yhteistyössä John Dunnin kanssa. Gian Luigi Biagini on italialaislähtöinen taiteilija, joka yhdistää teoksissaan eräänlaista poliittista shamanismia ja anarkismin tutkimusta käsitteelliseen ja performatiiviseen taiteen tekemiseen.

An installation consisting of cobblestones and symbols brings forward an idea of esoteric anarchism. Here anarchism is compared with other hermetic movements such as freemasonry and it’s symbols and materialistic references. For example, a masons brick as a solid constructive element is being compared with a cobblestone which on one hand can be seen as something that builds up public space but also as an implement of anarchism that is ambivalent and disjoint in it’s essence. The piece is a part of artistic research that seizes the mythologies of revolutionary desire built in capitalism. The exhibition is made by Gian Luigi Biagini in collaboration with John Dunn.

Gian Luigi Biagini is an artist from Italy that combines in his artworks a certain kind of political shamanism and research of anarchism into conceptual and performative art making.


An Essay by Gian Luigi Biagini: "The installation is a singular multiplicity of sensual resonances catalyzed by the orbit-perceptual of the esoteric anarchism. The artwork takes inspiration from the magnetism of the masonic compass, that the anarchist symbol was derived from, and then radicalized to the extreme of a darkdimensional Alef-object. The composition is a shamanistic reflection on the obscure flows of knowledge and experimental practices which underrun the centuries; a tribute to the huge challenging wave of potentials excluded by the clear axiomatic of the institutional apparatuses of repression. Through this artwork a distinct obscure flux of spectral intensities, outside of any representation, finds its way to disrupt through the sensual presence of symbols and materials, as a political possession of a surplus-code transmission.

In fact if masons and secret anarchism, throughout the centuries, share a conspiratorial intertwined field, a sectarian dark area of migration and exchange, a common aristocratic refusal of monarchy, churches and representative democracy, they take antithetic exits. If masons oligarchic political aim is to build (using masonry work) the architecture of a new order inside the order taking possession of the institutions to secretly pilot them toward the bourgeoise public progress (and their bourgeois private business), the anarchists and today post-anarchists want instead to produce a society-flow where chaosmosis, a tonomy, heterogenesis, and direct democracy prevails on the compulsive order of the institutions, where the magnetism of the singular prevails over the representation of the general and the particular, where the fractal schism or schizo prevails over the signifier of a total structure (that is also the main difference with communism).

The distance between the masonic architectural project and the anarchitectural desiring production is well expressed by two materials: the masonry brick and the black cobblestone. If the masonry brick is a material of construction, the black cobblestone is a disruptive material extracted from the streets to produce barricades as in the case of the Paris Commune or as a spontaneous weapon of counter-attack in a long history of riots. Besides, if the brick is a private or institutional material for the stability of an order, the cobblestone is a public, always available ambiguous material that one can find in urban streets and public squares to build the actual order of the City, but which contain in itself the potentiality to subvert that order. It is the symbol of the power of the common citizen in the City, the power it has to contest without an organized force the established edifice of the authority and its monopoly of violence. In fact if masonry brick and cobblestone share a shadowy underterritory, they symbolize an opposite approach and an antithetic vision of the world and its political bases. The masonry brick founds a base for a stable institution, the cobblestone ungrounds the foundation.

This artwork is part of an artistic research that, using singular expressions, remodulates the mythological flows produced by the revolutionary desiring machine installed inside, outside, and beside the capitalist body considered as the over-coding super-institution. The ethic and aesthetic strategy of this research is in adding virtual surpluscode to the actual difference produced by theantagonist phantom that persists, insists, and haunts, as a specter, the capitalist medium from the inside in the form of an outside-resistant-challenging-body. This obscure heterotopy is expressed by the intensification and re-injection of materials and symbols taken as re-combinatorial markers of a rhizome not completely subsumable by the axiomatic valorization of the capitalist code-machine. In this secret and subterranean affirmative tide the multiple schizo-concatenation of additional difference will disseminate a wave of new differences and will push fresh assemblages of revolutionary percepts into the emergence. In this becoming-tide the artists delete themselves as identities to become singularities in a field of potential, renewing and re-enacting the mystic presence of an indeterminate event yet to come, an act of belonging to a fatal strategy beyond any calculable finitude that challenges the mise en scene of capitalist power s empty heart.

The work is realized by the micro-field Anartistas formed by Gian Luigi Biagini and John Dunn."





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GALLERIA ALKOVI on Helsingin Kalliossa toimiva läpi vuorokauden avoinna oleva ikkunagalleria. Kuvataiteilijat Arttu Merimaa ja Miina Hujala ovat organisoineet gallerian toimintaa vuodesta 2009 lähtien. / GALLERY ALKOVI is a 24-hour-open window gallery located at the Kallio district in Helsinki Finland concentrating on exhibiting contemporary art. Artists Arttu Merimaa and Miina Hujala have been organizing the gallery practice since 2009.