RSPV (Répondez, s’il vous plaît)

The RSPV project (Répondez, s’il vous plaît), wants to propose a series of invitations, or rather collusions, ‘fraudulent agreements stipulated between various parties’, which are established between the subject who runs the space, a subject invited and the public.
Not pursuing a commercial goal, but with the purpose of being a place where thinking and making art takes palace, VUG does not want to be an ‘alternative space’, a ‘middle ground’, a reality or a ‘solution’ to which one falls back on replacing it with something else that is missing. It does not want to be a cultural, artistic or political activity that polemically contrasts with the official, shared and dominant models, but rather a space that ‘proceeds in alternating way’: goes reciprocally in a sense and in the opposite direction, like a connecting rod- crank mechanism that produces a rotary motion, a space in which incoherence and contradiction are a motor of thought rather than its limit.
In this sense the term ‘collusion’, used to define the invitations for the RSVP project, was chosen because of its nature of being a clandestine agreement between two or more people to achieve an end, an end that is by definition considered illegal, or not allowed by the moral norm or by civil or religious laws. A collusion is also a secret and fraudulent agreement between political exponents or public administrators and organized crime, or a contingent understanding, on a tactical level, of political parties, economic forces or social organizations, which are programmatically opposed. Most important of all is that at the base of the collusion there is an understanding between various parties in order to obtain mutual benefits.

Sparse and Dense

The project SPARSE AND DENSE was born as a natural evolution of a previous research on  the concepts of ‘volume’ and ‘movement’ of a body in space and their representation; research related documentation). Just during the development of these works I came across the text that then materialized in the series of works SCULPTURAL OCCURRENCES of 2019 (see addition to being an essential study on how human vision works, gave me the ideas for a new of J.J.Gibson “The ecological approach to visual perception” (1979), whose reading, in reflection on the representation of reality, investigated through the mechanisms by which we  how we see the environment around us, but also the perception of where we are in relation to perceive reality. The object of the analysis of the American psychologist is in fact not only from the simplest to the most complex. Hence the fundamental concept, first introduced by the environment itself and especially the understanding of how vision allows us to do things, edges in a visual scene caused by the relative movement between an observer and the scene him, of ‘optical flow’, which means a “pattern of apparent movement of objects, surfaces and  itself. The same model is also the indispensable tool for the perception of ‘affordance’ (another concept he first introduced), or the ability to discern the possibilities of action in the surrounding environment. In fact, ‘affordance’ (“invitation to use”) is defined as the physical (another concept he first introduced), or the ability to discern the quality of an object (but the same can apply to a surface or a place) that suggests to a human being the appropriate actions to manipulate it. The subsequent computer modelling of the original concept of optical flow is now the foundation of most experiments on visual perception in technology; computer vision, pattern recognition, motion estimation, motion compensation, etc. are in fact all applications of open flow that allow machines to perceive the world around them2. Although inevitably rooted in visual perception, the SPARSE AND DENSE project aims to investigate the fundamental concepts that govern our sensory perception and to create, through their free ‘manipulation’, new paradigms of interpretation and representation of reality. With the same objective we also intend to ‘play’ with those mechanisms that, simplified and replicated from our most complex and natural abilities, govern the perception of machines. For example, can the way we teach machines to ‘understand’ reality, paradoxically influence or change our natural way of experiencing reality and consequently modify the way we represent it?