OFLUXO

UV sanitizers, lichens, traps, debris, and dust propel the viewer into a post-apocalyptic landscape. I enter what used to be a building for housing and repairing vehicles. A few cars are left. The Mercedes SL 320 is probably the only one still having some commercial value. A grand touring sports car. The designation “SL” derives from the German Sport-Leicht. “Sport Light”. Its door is left open, I take the driver’s seat.

As I drive, sugar enters my brain from the blood by crossing the Blood Brain Barrier through glucose transporter and it is rapidly distributed through a highly coupled metabolic network of brain cells.



I am the driver of a complex system, a device, an appliance, built to amplify a variety of forces (such as those of water and wind) into regular, cyclic activities. Someone told me traps were among the earliest forms of machines. Meant to catch critters, this fascinating hybrid tools are both scary weapons and seductive ornaments.

Discomfort arises when I rely on the notion of permanence – the idea that things will remain the same. It is so incredibly difficult to imagine all that surrounds us won’t be there. It might be transformed into something else. It could simply die.

Flashback as I keep moving. Vilsonovo, Sarajevo. So many linden trees outline this busy street loaded with historical significance. I collect seeds, yet my ability to process emotion and memory is compromised with elevated blood glucose. I confront with the reality that repositioning in time and space alter the perception of the self. Spatial hierarchy, mapping. Perspective is first applied to the city and then to a country subjugated to urban control and viewed as landscape. Is landscape a geographical concept?

I am a nomadic Spacelander moving from a specific portion of the 3D universe to another made out of layers. Light green matter, repetitive patterns, and flatness hanging, neither suspended nor floating but there above me. A loose canvas had been laid on the textured surface of a keyboard and tamped into every depression. The fabric was then peeled from the object. Pigment got deposited over protrusions and on edges. I focus on residues.

I begin perceiving reality as a diverse range of collected materials, linked together. Knotted, tied. Undone and then tied one more time. I embrace delicacy and deceleration. A slow transformation is currently happening as we attempt to adjust our thinking towards deep future timescales then we are forced to realize it’s actually escaping us. Can you feel the pain?

MACINA is the first exhibition developed by TreTre, a group of eleven artists working in the new space opened by Viafarini.work in Milan.