MOROSO catalogo 224 pagine 1 BIANCA (2 sedicesimi) USOMANO
Artisti
Artists
VOLUMETTO 17 marzo corretto.qxp_Layout 1 20/03/15 12:20 Pagina 20
ceship on a Brazilian Beach (2013)citeall
themanifestations,forms,andfunctionsof
furnitureandinteriordecoration:wainsco-
ting,windowboxes,partitions,balustrades,
etc.Allalsoechotheaestheticsofpost-mo-
derndesign,andnotcoincidentallymake
extensiveuseoflaminatedwoods:inline
withthe‘masters’ofthisfinish,fromEttore
SottsasstoMicheleDeLucchi,Agudioen-
gageswiththelaminates“playingwiththeir
aggressionandlackofculturalvalue”,[B.
Radice,Memphis,Electa,1984]andinviting
theviewertoreflectonasocietythatrests
onthe‘surface’oftheworldandsurrounds
itselfwith‘things-that-are-not-as-they-seem’
(somuchsothatmanyworksbytheartist
arestillrawinthepartsthataresupposed
toremainhiddenfromview.)
Agudiothereforesuggestsacommentonthe
ideaoflifestyle.Itcouldbesaidinfactthat
hisworksachievetheirfullpotentialinthe
processofacquisitionand‘domestication’in
thehouseofthecollector.Herethesesemi-
furnishingscreateashortcircuitinthedy-
namicsofcrossinglifewithartbyvirtueof
theirsupposedfunctionality,‘confidence,’
and‘affability.’Theyappearasworksthat
morethanjustbeing‘seen’invite‘use’or
‘consumption’—andthereforearealsoprone
to‘wear’andpossible‘disposal.’Therefore,
intheimmanentreificationprocessofthe
artwork,Agudionotonlymaliciously‘acce-
lerates’thedowngradingoftheculturalva-
lueoftheworkinthe‘exchange’ofthecom-
modity,butalsoatthesametimeaffects
thatvaluebycreatingfortheartworkadoo-
medfate.Itwillnotlastforever.Indeed,
eveninan‘ecological’sense,hereferences
thecycleoflife,asiftosay“ashestoashes,
dusttodust”.
Michele D’Aurizio
29
imageisexquisitelyeco-friendly—andthen
finallytherearethespeakers,andthehouse
music.Howmanyhavefoundthemselvesin
thepresenceoftheworkandbeenableto
stifleanurgetodance?
Bravissimi presentsinanutshellthequali-
ties that characterize many of the later
worksoftheartist.Inthefirstplace,the
workbetraysanaffectionfortheproducts
ofprefaborhomeimprovementcenters,and
articles that in the privacy of a garage,
throughdo-it-yourself,becomecreationsand
projectionsofsuburbandreamsofsocialre-
demption(inBravissimi thespeakerbeco-
mes,withoutdoubt,thefirstinstanceoftee-
nagecarcustomization,ortheamplification
ofaudio).Theworkalsosuggestsatmo-
sphere,oratleastspatiality.Itcontributes
totheestablishmentofanenvironmentthat,
regardlessofthepresenceorabsenceofa
musicalcomponent(intwolaterworks, Tu-
ning Tandem (Italy 2011),2012,andMafia
Island,2013,Agudiocollaboratedwiththe
MilanduoPrimitiveArttoproducemusical
tracksadhoc),oritsdispositionasfurni-
shingsinadomesticinterior(theexhibition
Sleek Like a Slum,organizedattheproject
spaceGasconade,Milan,in2012,wasarran-
gedlikethelivingroomofamysterious
youngprofessional),projectsthespectator
intoanotherplace,moreorlessdistantin
timeandspace,thatisexoticandfuturistic.
FinallyBravissimi isa‘functional’work,but
notinteractive:itisadevicethat‘traps’the
viewerintoagestureofparticipation;itin-
viteshimtoparticipateinaperformance,
andimmediatelyputthevirtueofitsstatus
asaworkofartintoquestion.
Thislatterisperhapsthequalitythatreveals
acriticalaspectofAgudio’sartisticresearch.
WorkssuchasFigurine, figurines (2012),
Lukas (2012),Lulù/Lula (2012),Patinato
tipo favela (2013),andLike a Wooden Spa-
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