Critical-recognition

Recognition as exploration and identification.

Recent operative reality, also going back several decades, has been based (as usual, fairly speciously) on the investigation and detection of a presumed ambiguity of expression, in other words, an expression that is essentially metalinguistic. This produces an operation that tends primarily to release semiotic energies, particularly in cases where they are difficult to control. As a result, we have the creation of cognitive domains such as appearance and simulation that lend themselves to the development of features that are often incongruous and incoherent. The displayed image becomes a reference to a real event (the subject represented) that may or must be a false image or semblance designed to hide the true or significant pretext, or the fiction or simulation, or the mirage or illusion. Equally, it could be a pointer to unexpected discoveries in unknown territories, that is to say, images, signs, elements that have no history and no future, where the term simulacrum is the appropriate way to define the evidence of an event of specious origin, even by means of some random vehicle, in other words appearances or inventions remote from effective reality. Transgressive intentions of the mind, hovering over the territories of doubt, like the metalinguistic attitude of the accidents of nature and invention. Subjectification / objectification of a semiotic form that draws on the irrational and the unconscious, realized in the form of transfigured representations that progressively deepen unexpressed meanings, including the practice of alienation. The thin blurred line between reality and representation, between form and simulation, and between permanence and transience, suggesting elusive and indefinable unease. Subverting expectations by creating dis-connections. Simulacra.

In the creation of signs and forms, there are often unpredictable and unexpressed visual allegories. They are such not only according to the intuition of the observer, but in particular because of his imaginative involvement: a field of invention for interpreting a reality that can / should be accepted as other, but which is in fact the same. (There is a certain analogy with the theatre, where the audience is given a paraphrastic account of reality whose function is to present "reality" by being superimposed on the real and the interpretation of the real to form something unique. Hence the impossibility of being certain as to what is reality, what is true, what is fiction the simulacrum. The disquieting doubt belongs to the spectator and not to the artist, who knows that all forms of representation are individual and unique in that they are truth and fiction, simulation, etc.). Finally the artist (a tightrope walker) must even ask the (somewhat unnecessary) question which is preferable: real or manipulated reality. For his world, which has nothing spontaneous about it, is not unexpected even in the presence of an enigma, which takes away our good faith. That is to say, the subject, the form, the sign are obviously representations of themselves.

Again: combining elements devoid of logical links and searching for images which are often characterized by unexpected poetic intensity.

Pier Giulio Bonifacio

From “Ricognizione (critica) dell’autore”, august 2013. Edition 06.09.2013.