E se la fine del capitalismo non sarà dovuta, come teorizzava Marx, ad una sorta di implosione del sistema capitalistico stesso?
Lo scenario immaginato e creato negli spazi della Galleria Ramo da Patrizia Pfenninger, alla sua prima mostra personale, si interroga sull’ipotetica ricezione, interpretazione e classificazione degli oggetti di uso quotidiano del nostro tempo, da parte di una forma di vita altra, extra-terrestre
Sulla base di queste considerazioni nasce il progetto di Patrizia Pfenninger Pompei today. The end of capitalism. Ipotesi di un’archeologia futura dove i simulacri del consumo si trasformano in reperti, prodotti spogliati del loro appeal e ridotti a oggetti nella loro essenza (memori del “una rosa è una rosa è una rosa”), a testimonianza di un passato (il nostro presente) segnato da logiche economiche e di mercato dagli effetti discutibili e controversi. Senza entrare in una critica esplicita al sistema di valori del mondo contemporaneo, l’esposizione invita il fruitore a riflettere, a soffermarsi sul proprio rapporto con i beni materiali con i quali interagisce quotidianamente e sulle scelte che altrettanto frequentemente è chiamato a mettere in atto. Citando l’artista “siamo il nostro supermercato (di scelte) / siamo la nostra stessa carne / siamo la nostra macelleria”. Pompei today è dunque l’esposizione di un’immaginaria e immaginata esposizione non ancora avvenuta, una sorta di documento/testimonianza della vita contemporanea e della ricerca (forse vana) dell’essere umano di una felicità senza data di scadenza.
Patrizia Pfenninger è nata a Zurigo nel 1984. La sua passione è la comunicazione: studi e attività professionali sono orientati da sempre alla creatività. Ha un diploma CSIA in arti aplicate, alla Supsi di Lugano ha ottenuto una laurea come comunicatore visivo ed un Master in Interaction Design, oltre a diplomi in IdeaMapping e Marketing. Queste diverse sensibilità tecniche le permettono di coniugare, con la sua agenzia indipendente indica, il rigore delle scienze con la capacità di creare nuovi mondi nell'espressione artistica e nel design, operando su strutture multimediali ed opere tradizionali. La passione per la tipografia l'ha portata a concepire manufatti in cui la materia diventa testo. IDEA, la scultura realizzata con 100 banconote da 100 EURO come caratteri mobili, è diventata il simbolo della campagna #leideesipagano. L'opera, che difende la cultura del progetto, è stata presentata ad aprile 2016 al Media Art Festival del Maxxi di Roma, ed esposta poi a Torino (Circolo del Design), Genova (Palazzo Ducale), Milano (Camera di Commercio), Salerno e Lugano.
(EN) “We must create needs for them"
Is the end of capitalism not due, as Marx theorised, to a sort of implosion of the capitalist system itself?
The imagined scenario which is created in the spaces of the Galleria Ramo by Patrizia Pfenninger, in her first solo exhibition, questions the hypothetical reception, interpretation and classification of everyday objects of our time, from an other, extraterrestrial life form. The exhibition in Como is thus transformed into a sort of spaceship/archaeological museum of the future in which the only survivors, petrified (hence the analogy with Pompeii) follows a mysterious, fleeting and infallible alien intervention, gathering the goods of consumption. Symbolic objects easily and deliberately recognisable to today's consumer, increasingly considered (illusory) "useful and indispensable" but which, in a short time, inevitably become "the waste of tomorrow” (Zygmunt Bauman, Vite di scarto, 2005). Symbols of an apparent progress that leads to an even greater and unreasonable production of new things, capable of triggering a feeling in man, a voracious, greedy, bulimic desire for consumption. Consumer goods of the current society, defined as liquid both for its debauchery and for the constant and sudden change to which it is subjected, the rise to simulacra idolised by the masses. Wax idols (like a pair of Icarus's wings) built on images and advertising, creating on the whole a visual communication implemented through targeted marketing strategies there is even talk of neuromarketing that works at an unconscious level and is able to leverage the decision-making capacity of consumers, today find their apex in branded products, where the brand has become (not always rightly) synonymous with quality and excellence. And these products, now an integral part of the everyday life, help to describe, to denote and at the same time to characterise our identity. Going further, these products have literally shaped our experience of reality: today an apple is no longer a fruit but a computer as much as a crocodile is not an animal but a t-shirt. The signifier has supplanted the meaning. The collective imagination is saturated with hidden messages that in the long term have contributed to creating a distorted image of reality, to conditioning our perception of it and even to teach us, or rather unlearn, how best to live. The capacity of emotional persuasion of these messages, insinuated in every sphere of our action, distracts attention from the essential directing it towards the object of desire, the superficial; we are attracted by the latest model of a smartphone, from its functions to its updates, from its dimensions to its performances, without seeing the sad reality that hides inside the production of the object: the exploitation of the cobalt mines in the Congo and the thousands of people exposed and subjected to inhuman working conditions. We are approaching and we resemble the inhabitants of Leonia, one of the invisible Cities of Calvino, in a frightening and worrying way, where "every morning the population wakes up between fresh sheets, washes with barely scrubbed soap, wears brand new dressing gowns, extracts from the most perfected tin cans refrigerator still untouched, listening to the latest nursery rhymes from the last model of an apparatus", and later "everyday more things are sold sold, fabricated and bought, opulence of Leonia is measured by the things that every day are thrown away to make room for new ones.” The appearance in the eyes of others (how we dress, which model of car we drive, what glasses we wear, what phone we own, what we eat) replaces the substance of our being. "It is a sign of great misery, that man needs so many things: he shows himself to be poor in the things of the Great Spirit. [...] Because the Papalagi [the white man] inebriates his spirit in many ways, and he is convinced that he cannot live without things, as one cannot live without eating ", said Head Tuiavii of Tiavea of the Samoa Islands to his island brothers at the beginning of the last century, warning them and warning them against the white coloniser and his "treasures" that "are nothing but poisoned arrows". Now we are the actors, oblivious or careless of the capitalist logic, driven by an insatiable hunger for the new. Without wanting to, we are swallowed up in a black hole of indifference, now insensitive to any kind of suffering as long as it is distant or mediated by a screen, spectators of a shipwreck ready to share the tragedy. What we possess has ended, willy-nilly, to possess us and lead us slowly towards a constant and unattainable sense of dissatisfaction and unhappiness.
Based on these considerations, the project by Patrizia Pfenninger Pompei today. The end of capitalism is born. Hypothesis of a future archeology where the simulacra of consumption are transformed into finds, products stripped of their appeal and reduced to objects in their essence (mindful of "a rose is a rose is a rose"), testimony to a past (our present) marked by economic and market logic with questionable and controversial effects. Without entering into an explicit criticism of the system of values of the contemporary world, the exhibition invites the viewer to reflect, to dwell on its relationship with the material goods with which it interacts daily and on the choices that it is so frequently called to put into practice. Quoting the artist "we are our supermarket (of choices) / we are our own meat / we are our own butcher". Pompei today is therefore the exhibition of an imaginary and imagined exhibition that has not yet taken place, a sort of document / testimony of contemporary life and of the search (perhaps vain) of the human being for a happiness without expiration date.
Patrizia Pfenninger was born in Zurich in 1984. Her passion is communication: her studies and professional activities have always been oriented towards creativity. She has a CSIA diploma in applied arts, at Supsi in Lugano she obtained a degree as a visual communicator and a Master in Interaction Design, as well as diplomas in IdeaMapping and Marketing. These different technical sensitivities allow her to combine, with her independent agency indica, the rigor of the sciences with the ability to create new worlds in artistic expression and design, working on multimedia structures and traditional works. The passion for typography has led her to conceive artifacts in which matter becomes text. IDEA, the sculpture realized with 100 banknotes of 100 EURO as movable characters, has become the symbol of the #leideesipagano campaign. The work, which defends the culture of the project, was presented in April 2016 at the Maxxi Media Art Festival in Rome, and then exhibited in Turin (Circolo del Design), Genoa (Palazzo Ducale), Milan (Chamber of Commerce), Salerno and Lugano.