Art for legality

There are two key elements of this research, first there is a dynamic that is typical of abuse and of lawlessness for personal purposes, that is: I need an extra room and I spread by closing a terrace or adding a volume. This type of action may be dictated by the birth of a child or even a job change or the purchase of a new car. In the same way I respond to a personal need of a closed environment inside the museum to exhibit some works and build illegally on the terrace. I would like to create a volume that inside meets the museum royalties, that creep in the normal visitor's tour without being too obvious and from the outside reveal all the crudeness of a speech in a short time and without any kind of design .

Through this type of intervention I also trigger a second level of reflection that is the direct relationship between need and action,infact is not too long ago the law that who steals from hunger cannot be condemned, in the same way who closes a place for real and urgent needs should have the same treatment? The artistic research is perhaps a 'lesser need? From here triggers what is the reasoning about action and accountability on the aesthetic impact on the landscape itself.

The work also becomes container and content in a split that qualifies and abstracts added body (as artwork) from the normal legal dynamics.

The dissonant aesthetic between inside and outside moves and brings reflection also on the human level by analyzing what has always been an area of ​​study and investigation by the artists, namely the dichotomy between outside and inside of the human figure, between what is our public face and what instead corresponds to our private side hidden to most people.

The second key element of the research is installative: this work will serve to contain a work of documentation that will be implemented locally and internally exposed in the volume obtained illegally.

The work that will fulfill within born from an alienating feeling I had during a visit on the territory of Catanzaro and more precisely on the north coast of Catanzaro. I remember having walked for kilometers a road dotted with rich precarious architectures accretions and finishes often non-existent, I was with Guido Tallarico, who seeing me intrigued by all those structures and answering my questions tended to apologize and justify some actions with ignorance and willingness of the individual to have a house by the sea ... actually I did not see aesthetic disaster nor even reasons of shame as I am firmly convinced that only in territories such as Catanzaro or, for example, of neaples peripheries, aesthetics can have an evolution. There is a gray and dirty area without which no change is possible and it is in these places far from the historical buildings in the center that evolution travels faster and confronts humanity and change the aesthetics and that is why I love to document and look at every single abnormality as the germ of a new visual possibilities and also the possibility of a development alternative that is not imposed from above but from below, from the needs of the individual and aims crude, violent and generous no desire to historicizing, charge of that overpowering hunger that characterizes the territories of the dream and despair.

Through a territorial division I will invite the guys who decide to attend the seminar to collect some pictures and send them to me, I will make a selection of the most significant ones which will compose some works.

Eugenio Tibaldi