Our artistic quest is concentrated upon the analysis of the loss of certainty of our daily actions, that is to say, the moment the meaning of these actions are lost in the logic of daily life in and of itself. Our routine actions – those «mechanic steps» that we take are responsible for how the meaning and motivation behind our actions become faded or lost. Our reflection explores -in part – the way the sense of our daily actions is emptied while investigating our indifference towards the places that host our «daily crossings».
In our research the concept of «Error» is interpreted as an opportunity to acquire information; we have no intention to applaud it. In our work, error – that which either stands in or is set aside to the margins – needs to regain its sense of «Erring» like a wandering here and there that can lead one to another vision much in the way a shadow is always the consequence of a light that looks elsewhere: an «erroneous beauty». In our research, language is considered an expedient which we use not merely as a semiological analysis but as a means of alternative interpretation of the circumstances. We are interested in exploring the moment of processing communication – that «grey area» between the referent and the signifier. A «hum of Barthesian sense» inseparably linked to the present, like remembering and not remembering, but (most of all) a moment in which translating, interpreting and referring are no longer the issue at hand and that the concern becomes to ensure that reality invades the mind controlling it. The way we see it, a work is transparent in the sense that it creates no image but it leads beyond a circumstantial limit. It is the sum of a process and time period that takes shape from the interaction with a specific context made up of observation and respect, a patient and constant crossing. If we are careful about avoiding total knowledge of that which we are trying to investigate, it also serves to hinder us from having a clear goal. Currently, a new place has left a deep and special impression on us. It is definitely gloomier and more serious in terms of its history and content. But it was brought to our attention almost as if it were a fabric or organ in constant development – what we like to define as an «involuntary landscape». We will not reveal its name yet and not only out of superstition. It is a place in which the past, present and future co-exist in compresence. Those marginal zones of the landscape, of memory that arouse our interest due to their tendency to «indefinition» and unresolved fate.
At the moment, we are basically reflecting upon the idea of a “monument that is an end unto itself”, constantly under re-construction and re-adapted until it becomes a totally hybrid form, a document that is being constantly re-written. A game that invents rules, a re-actualized memory, an involuntary landscape. Our modus operandi often includes interweaving various projects. Sometimes they also include works we have created over the years that interact with the specific conditions of the exhibition space (as was the case for the Dimenticare a Memoria exhibit at the Italian Embassy in Brussels for the Blumm Prize), radically changing its layout in a dialogue with existing works that is different every time, new site-specific productions and architecture of each hosting space to constantly re-define the rules in order to play new games.