In the tradition and assimilation of certain strategies of historic conceptual art, the works of Vittorio Santoro (born in 1962, lives in Paris and Zurich) operate a new attempt to "dematerialize" art. With efficient means, they install the viewer in an interference pattern of directions and meaning.
The artist invests the space of La BF15 with two devices that probe our condition by establishing a questioning of our relationship to time, space, language and communication.
An/ästhesie, Part II is an architectural installation in which the representation of language manifests itself through different forms. We enter a room split by a partition and two questions (verbal and visual). On one side, there is an audio work broadcast by two speakers on the wall, in which two young people ask the question "What proves you are not here?" in different intonations. This confusing subliminal dialogue is marked by a quasi-similarity of the two voices, their modulations, variations of their intensity and their tone. On the other side of the wall, illuminated letters formulate a second question "What proves you are here?" like a positive echo of the first.
The second installation, Man leaving harbour on a ship (in a room), is a new production by the artist. In a space fragmented this time by a second architecture of cables, both sides of a 33rpm vinyl disk are broadcast (played at 45 rpm) using a specific protocol: the organiser of the exhibition ensures that the reading of the B-side (conclusion) takes place the day after playing the A-side (beginning), and so on. On the A-side is the fragment of a report of the play Immanuel Kant by Thomas Bernhard, and on the B-side plays a different statement, which however keeps certain symmetry with the A-side by using the same keywords. The silence at the beginning and end of each side of the record is an integral part of the room.
The vinyl disk Man leaving harbour on a ship (in a room), sound piece in two acts, in two days and the artists' book have both been published.
The drawing Until Nothing Happensis also marked by the passage of time. Writing the same sentence every day for six months demanded a mental and physical effort from the artist. This poetic expression and its semantic experience reveal the strata of the process.
with the support of Pro Helvetia and the galery Xippas, Paris
special thanks to the Museum of contemporary art Lyon