INSTAGRAM TIME PARADOX
Milan, 22nd of October 2014.
The Fontana-Klein exhibition opens at the Museo del ‘900.
Luca Pozzi chooses the opening night for an unofficial performance.
Recorded with a smartphone, the artist blends into the crowd of visitors, most of whom are filtering every piece of the collection through a portable device, so as to ensure that the images remain in some baggage of their extended memory.
He also appears intent on recording the works with a phone, but looking more closely we see that what he holds in hands is nothing more than a rapidcalcolo (a forerunner of the pocket calculator), the most advanced portable device available in 1956.
Therefore, in the construction of this image, a visual and temporal paradox is created, where the viewer is unable to distinguish between the relevance of the gesture and the use of an object of modernism.
15th of March 2015: the closing day of the exhibition at the Museo del ‘900, HOC/gallery (www.hocgallery.com) and Luca Pozzi present Instagram Time Paradox.
From a performance closely linked to the mimetic aspect, to a visual short circuit, and therefore to an unavoidable physical reality, the photographic and video content is translated to Instagram, the most popular network of online photo sharing.
During the official presentation of the HOC/gallery project, in addition to the pictures posted on the opening night and “regrammed” after four months, more unpublished content will be shown, such as a video trailer, a web page and a series of animated gifs.
The social network of the moment, which derives his popularity from the real time sharing of experiences, is reconsidered in terms of non-linear space-time, a suspended limbo of transition, a new concept of museum, exploded and multiplied and ready to welcome works without fixed coordinates.
From real to digital and back, playing a game of trades with the collective imagination, Instagram Time Paradox is an explicitly Newpressionist project conceived by Luca Pozzi after the recent experiences at the Internet Eternal Brotherhood (Dead Sea, 2014) and the launch of the movement at the Swiss Institute of Milan in the same year.
In this context, the artist offers a new perspective of the social container, exploiting the most viral nuances, and calling for a more careful examination of the entire photographic collection which will appear in the form of a personal and static time travel journey, reconstructed through an unsuspecting audience and a barely perceptible visual overlapping.