Just one damn thing after the other

AFTERALL_Just one damn thing after the other_01

just one damn thing after the other, 2016, courtesy Artists, Danilo Donzelli photography

The project fits in the research conducted by the two artists between Naples and Mexico City which are based on a reflection on the historical and social construction of the “document/monument”. “The document is the monument. It is the result of the effort made by the historical societies to impose – willingly or not – that given image of themsel- ves to the future. At the limit, a document-truth doesn’t exist. Each document is a lie. “(J. Le Goff, Document/Monument). The document and its social value, like the monument, is the result of the selection and assembly of some, among many, testimonies which historiography chooses to pass as truth. Afterall translates and slips this reflection by investigating the history of the “Monument to the dead seamen” – known by the Neapolitans as “The Broken Column.” Meant to be a monument to Admiral Francesco Caracciolo, only a sketch was carried out using a portrait of his brother, not having available an image of the Valiant. But the final bust was never completed and its base finally received a heavy cipollino marble column waved with green, whose recorded history is lost in misinformation, forgetfulness and discoveries. The detailed analysis conducted on the Monument by Afterall, both from a historical point of view and on its forms and dimensions, reaches up to its dematerialization and to the absence of any link among the parts of the discourse. In the exhibition, these are translated in a ephemeral ardour, with no purpose at all: a grill which perfectly cages the emptiness. Afterall’ s discourse widens from here towards the approximate nature of all slavishly sought truth, supporting a suspension, a “standstill” in the act of the assembly, so that the act of creation becomes a never-ending constant. This takes the form of an archival research, where stumbles, wanderings and bewilderment are the backbone of a series of works in which an “imperfect geography” becomes a guarantee of survival (cfr. Tzvetan Todorov).

Chiara Pirozzi