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| Artcheology of the future |  |
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| look the photos |  |
Archeology of the future is not only a complicated way of looking at our selves with the eyes of our successors, it is also a way to see our past or our present. If today archeological sites bring back to light objects that have been under the surface, tomorrow these studies will have different projects and methods. The research will be done in the deepness not of the earth but of the digital sounds that characterize our era. Digital production in the nearest future will be destined to prevail on natural production. Leaving space to new technologies and the decline of the materialistic production will change the life of individuals and their expressions will change to precise places and spaces. They will not contain the origin or its appurtenence but the content and the meaning of its expressions. Time in our culture is given by passages by variations by successions of ideas; it is underlined by differences of style of period of interpretation in the world and of life. Although today we don’t leave a sing, a trace; we type. Our every day life will turn into a continuos typing in the net, like in communications, in the service sector, in our studies and in production. The net will be the box in which everything flows, the funnel without material where temporal and geographical differences nullify themselves, the omnicomprehensive container that in once holds today, yesterday and tomorrow. The archeology of the future is an utopy, not because it is contradictory in its terms but because in our time through technology the future mixes with the present denying the illusion of a difference that for man is indispensable but that globalization does not permit. Musil wrote in the twenties : "If the realization of primordial dreams are considered to be able to fly with the birds and swim with the fish, dig huge tunnels in the heart of mountains, send messages at extraordinary speed, being able to see or hear what is invisible and far away...then the actual reasearch is not only science, but it is also magic..." But would the Austrian writer ever have thought of the effect of the progression of that magic which is the incessant and immutable continue of the present?
Mattia Torre
The poetry of the visible and invisible enclosed in a sheet of acrylic.
Painting a rare and special: the painting back, that does not allow mistakes, that does not forgive.
A technique very personal, attentive and free at the same time, full of colors and splashes, shadows and lights, marks and stains, all thrown with a brush, in thought, the soul, the desire to try and try again, sans arrêt.
Methacrylate fragments which, in turn, because creation does not end here!, Rest, sinking into thick layers of tar, sand, expanded clay.
Why?
They are the "Archaeology of the Future". They want to be that virtually the distant future man will speak today. Substances dusty imprisoned and trapped in the plastic. The forms of this, or technology, energy, exhibits, animal and human life, abstract concepts, scientific thoughts, memories, dreams, passions and psychologies float almost melted in acrylic plates. The heaviness of our present all seem transported to the lightness of the future. Perhaps these forms will be the only witness to a terrifying and absurd Archaeology. The today in tomorrow through time: the colors intercepted in the grip will not lose their polish and shine them, forms will break like crystals showing still pictures enclosed. Stains, visions, impressions, fragments and shadows explode. While thoughts, emotions, melancholy, happiness and memories imploding. All overwhelmingly beheaded. In future millennia people today through Archeologie show virtually its lightness and strength. A lesson. Accusation. Bitterness. A confession. A conviction. And yet .... These pieces are the books of the future will be read as they are immersed and lost in the mud of our destruction.
Luvit paints with the speed and color of the sign, as if afraid of losing the perfect moment, one might almost say the moment is immense because of immensity. With the power of his thoughts, his hands and his personality very quickly and creates these plates that boldly breaks and then immersed in pitch or other surfaces, preventing any leakage of redemption or repentance, even hitting him relentlessly. Some pieces pulsate even small splashes and dashes of multicolored lights, a jolt of life, a pulse of energy that dance with the highs and lows of all forms of noise. An immense cosmos sparkles with hundreds of broken lights of stars, but rather of poetry seem to speak of chaos away. A ring of illuminated color turns inexorably forced into a layer of tar and screams of signs and symbols. A rectangle of light yellow orange and red, miraculously whole, it still sends some signs of life as an enchanted fable lost in the heat of the time. Luvit accompanies this virtual trip to the archaeologists of the future with a bitter smile and almost winning, convinced of the genius of man at all and forever, because despite the mistakes, failures and the many destructions there will always be a new man ready to live , challenge, any obstacle.
Livia Alessandrini - Rome April 4, 2000