HH – mv

HOLOGRAMS

Calendered dye-sublimation ink print on windproof nautical fabric, stretcher

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The Hologram series is a necessity; not only derived from a desire to update the artistic technique, but also strengthened by contemporary fears, in fact, by addressing them the artist calls into question the very ontology of artistic technique. Cultural and technological elements that update a transcendental attitude towards the image are added to the essential reduction made by Kazmir Malevic and to that relationship “between image and frame, between contemplated object and field of contemplation, between one and zero” described by Boris Groys in Going public.
We find ourselves in front of an alien and utopic image, which requires an accurate fruition, not the fast and easy approach typical of our time. Viceré goes beyond the image, simulating the possibilities of painting itself. Not only he recreates an existing object but also, to say it with Baudrillard, he pretends to have what he does not have.
The canvases are imprinted with macro pictures, enlarged details of web images whose original form we will never know. We can distinguish square shapes, reminding us of zoomed pixels. The artist therefore appropriates images that are already available, he re-elaborates and reuses them, to introduce the concept of a shared authorship, in which the co-author remains unknown, to replace the pictorial gesture and shift the attention to the painting intended as a simulated object.
The digital image is given to the observer as a pictorial simulacrum, an artwork that involves ontology as well as aesthetics: reality has disappeared and the dream becomes real. The alien is here among us and does not need a referent or representation anymore.

(extract)_Davide Da Pieve

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