Caput Capitis II
Caput Capitis II
aA29 Art Project is pleased to present the second part of Tiziana Pers CAPUT CAPITIS’ solo exhibition in Caserta. The project was conceived as a single exhibition in two chapters: after CAPUT CAPITIS I, presented at the end of March in Milan, this second part curated by Pietro Gaglianò and Gabriela Galati, is based on two main axes: revealing the structural continuity between the different forms of domination in a path that leads to unimaginable scenarios of control; and at the same time proposing possible margins of change, of breaking, of unpredictable openings to new paths and ways out of these structures.
In the exhibition, three narratives are alternated.
The first is based on the cloning and genetic modification of five monkeys in January 2019 by two teams of scientists at the Institute of Neuroscience of the China Academy of Sciences in Shanghai. The DNA editing technique has been applied to monkeys to modify the gene that controls sleep, making them sleepless with the aim of studying this disorder and other mental diseases related to it. Pers portrays some of the genetically modified subjects in oil paintings, drawing attention to a limit practice between different species – and certainly already practiced with the human species – that operates a type of hybridization between human and non-human without a true purpose of partnership, as Roberto Marchesini would say, but as a simple and overwhelming abuse and exploitation.
The second narrative line focuses on what can be called “situations of animal rebellion”: bulls and cows evade from the slaughterhouse or from a bullfight, as a gesture of reappropriation of their own destiny, of resistance, an interruption of a predetermined future. A series of pencil and ink drawings are inspired by happened events of animal rebellion.
The two previous conceptual threads are part of a main project, always in progress, that the artist has been carrying out for more than twenty years, ART_HISTORY. Using the artist words, ART_HISTORY “consists in exchanging one of my paintings with an animal that was destined to be slaughtered: horse, donkey, rabbit, lamb, chicken, pig, duck, goat, cow, goose … The painting has the same height or dimensions as the saved animal. I don’t decide which animal will be saved: the butcher, or the merchant, or the breeder makes the choice. A contract ratifies the exchange”. The exhibition will present a selection of unpublished photos of ART_HISTORY / Vucciria (2018), an action carried out in Palermo for Manifesta 12 (*). In this way the project opens several questions on the attribution of an economic value to a sentient being as well as to a work of art and, at the same time, on the possibility of the art to interact with the real datum and save a life.s