The Italian visual artist Luca Curci (art director of a ''kinetic organization'', International ArtExpo Group) is an amazing conceptual character of a new/old cultural paradigm, post-literature.
New because many creative energies try to impose it now as a major trend, old because its first conceptual character was also an Italian, Leonardo da Vinci. The most fabulous performance of post-literature would be to put together, in a free and uncontrolled coexistence, all the artistic, literary, philosophical and scientifical/technological works of Leonardo.
Like his famous forerunner, Luca Curci was interested from his artistic beginnings by art, philosophy, literature and science/technology, all of them components of post-literature, in my vision. The architect Luca Curci is a visual artist fascinated by the architecture of the inner life, marked by fluidity, transparence and fuzzy. The architecture of thoughts. The architecture of meanings. The architecture of the Lost Paradise identity.
He reminds us that the frontiers between artistic and non-artistic mediums are no longer available. His art became inseparable of technology and information, philosophy/psychology and literature. His art is influenced by the key words of post-literature, Leonardo's canon: image, figure and concept. Luca Curci explores, in this universe of mutation, the interrelations between exterior Nature and interior Self (THE TIME INSIDE), the psycho-physical links between human body and space-time foam of identity.
THE TIME INSIDE of post-literature seems to be closed to the apocaliptic vision of time expressed by the most compelling post-literary writer of our times, Madison Morrison: ''(...) time goes forwards and backwards simultaneously. In other words, we live in the future and the past, as well as the present''.
Even in his early works of painting (old archetypes with the eyes lost in THE TIME INSIDE, soft cubist and e-futurist e-human representations, all immersed in a metaphysical atmosphere which reminds us the world of Giorgio de Chirico), Luca Curci combines in a similar temporal perspective experiment to reflection, man to machine, light to body movement, architecture to cyberspace. He looks for the magical assembling knot between the physical and the virtual space, the transarchitecture. The architecture of the hyperlinked cyberspace. The liquid architecture. In his opinion contemporary art is living the post-organic universe (''l'arte vive il postorganico''). To avoid the dissolution of ego in such an instable world, full of temporary tele-existences, he looks for an equilibrium between mind and body, subject and object, body and spiritual life, for a continuity between Nature and Self.
As all the major artists/thinkers of post-literary times, Luca Curci is focused on an onthology of multiplicity and a metaphysics of event.
THE TIME INSIDE and communication are key sources for our identity and spiritual life. THE TIME INSIDE is the assembling node where we can meet the Other/the God. Einstein was convinced that even God is time beyond the temporal objects. All his life, R. M. Rilke had the obsession to transform the exterior world into a sweet, inner space, THE TIME INSIDE.
THE TIME INSIDE is a liquid structure, like the videos of Luca Curci. He uses the body language of some female characters, Oriental or European, to tell us the strange story of the actual human fractal identity. THE TIME INSIDE is a sum of tragic histories on our destiny, on the paradoxal lack of communication in an overwhelming and oversaturated communication universe. The former vivid words
(THE WORDS INSIDE: LOGOS) are now dead and dried branches (wooden snakes) of a Lost Paradise tree, which try in vain to interfer with the body/spiritual language of the female characters. They are deprived of the links with THE TIME INSIDE, the living time, the sweet Bergsonian duration.
This text IT'S LIQUID like our present-day culture, it's both a literary text, a mail art work and a philosophical meditation, a post-literary work. When Luca Curci invited me, ''the scripting nomad'', to present his solo exhibition in Paris, he knew my ideas and I suppose he intended to complete his performance of post-literary works. That's why my speech becomes now a part of his work and all the participants to such an event are also invited to be true actants of his special show.
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