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'If the Poor Stopped Reproducing, the Rich Would Create Them Artificially' by Fabio Santacroce at Futura, Prague

SECTION 1 If the Poor Stopped Reproducing, the Rich Would Create Them Artificially (parade), 2018

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SECTION 2
If the Poor Stopped Reproducing, the Rich Would Create Them Artificially (light my fire), 2018

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SECTION 3
If the Poor Stopped Reproducing, the Rich Would Create Them Artificially (Viva Forever), 2018

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But they don’t know about your stress-filled day Baby on the way, mad bills to pay That’s why you drink Tanqueray, so you can reminisce And wish you wasn’t living so devilish, shit.”


The Notorious B.I.G.: Everyday struggle

The exhibition of Italian artist, curator and organiser operating also under the label 63rd-77th STEPS, opens up the theme of social origin in a resolute, but undogmatic way. Abstracted from cheap decorations typical for Southern Italy‘s lower classes, and often related to rituals dividing life between everyday misery and times of celebration, this iconography constitutes traditional gender and family roles, duties as well as vanishing privileges. Santacroce’s installation is an aestheticizing portrait, both critical and empathetic, underlining a certain sense of sentimentality and vulnerability, but always escaping romanticisation. Santacroce’s work is filled with working class ethos but also a certain courteous nihilism.

The core of the exhibition “If The Poor Stopped Reproducing, the Rich Would Create Them Artificially” consists of a series of red-black&white videos. Their visual part is made by cheap piktogram-like gif’s, that Santacroce downloaded from the internet photo-banks, post produced and uploaded on his youtube channel. Simultaneously playing hit music videos and popular cover versions in another browser window, he recorded the result with his mobile phone, adjusting the synchronisation of the sound and image in a manual analog-like way. In this rather primitive manner an idiosyncratic grainy lo-fi aesthetics appeared, partially a happy disco vibe, partially freezing existential crisis. Santacroce mentions that he wanted to create the exhibition at FUTURA as if his own family decorated the space for his celebrated arrival. Some of the videos are presented on cheap tablets wrapped as the Italian working classes do for their birthday, baptism, marriage and other ritual celebration in a large cellophanes resembling a huge candy. Rattan decorations: fishes, bells, hearts in a natural, but also imported and standardised design gather and ironic compositions, little plastic fences, soccer balls, and other trinkets complete the overall happy impression of the deep everyday anguish. As Santacroce adds, it is not the simple high and low artistic play, but the real and authentic horror in the fight for everyday material survival. The deconstruction of the mass spectacle supplied as the drug for forgetting.

— Michal Novotný

27.2.18 — 15.4.18

Curated by Michal Novotný

FUTURA

'Access Modes for Encountering Large Industrial Bodies' by Kitty Maria at Het Res

'La ballade des sardines – Die Liebe der Sardinen' by Robert Brambora at Sans tit

'Weathered Shabby Shabby Brenches: Vernal Festivity of the Four Clari' by MRZB at

'Rose Button' by Romain Vicari at Placement Produit, Aubervilliers

'리좀적 주문 Rhizomatic Spell', a Group Show at Kvalitář, Prague

'Die ZWEITE HAND' by Niclas Riepshoff at Stadium, Berlin

'Bit Rot' by Bob Bicknell-Knight at Broadway Studio and Gallery, Letchworth Garde

'ALL ONE' by MYLASHER / Tine Günther at The Complex, Dublin

'Jacques de Bascher', a Group Show at Treize, Paris

'Confusion is next and next after that is the truth' by Jonathan Castro Alejos at

'Dewdrop Toadstool Hopscotch' by Isabelle Adams at Garthim, Mattheissen State Par

Behrang Karimi at Zarinbal Khoshbakht, Cologne

'Selfing' by Elif Saydam at MÉLANGE, Cologne

'From the Xmas Tree of Lucy Bull 2', a Group Show at From the Desk of Lucy Bull,

'Lotosesser' by Ernst Yohji Jaeger at 15 Orient, New York

'Smile, angry lamb', a Group Show Curated by Ilya Smirnov at Daipyat, Voronezh

'Sleep Ambassador' by Joe Greer at Sinkhole Project, Baltimore

Screening: 'Last Page', a clip by Nicholas Matthew Elstran featuring a track from

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