The first beetle in a museum, the art of cryptography is now in Rivoli

Rivoli. Non-existent art enters the museum and the encounter is less lunar than it appears. In Castello di Rivoli he opened “Espressioni con frazioni”, a title that recalls the homework and the path that it actually performs in our place as it unites the imaginary life with the real world, human and beyond, physical places and metaphysical places. And all you have to see, especially Beeple who has never been to a place like this before. Now he is a guest exhibition, with concrete work, a kinetic sculpture walking in front of the still image painted by Francis Bacon.

A step back before facing the meeting of the century, or rather, two different centuries. Beeple is the stage name of Michael Winkelman, a graphic designer dedicated to digital creativity who would never have called himself an artist, who came from another planet and swept the market a year ago. It did so with the standard sale of an intangible bundle, enclosed in a single work, protected by a string of data and traded in cryptocurrencies. In short, $69 million was invested in a series of changing images, visible only on a phone or computer screen, at most in width. It’s the world of Nft: an irreplaceable token, a deed of ownership of something that doesn’t exist, changes and evolves. Now all this digital information finds a primary seat inside Castello di Rivoli. The statue in question, “The One Man”, was thus described by its own author as “a refrigerator that spins, because the parts of the house have always been changing.” Indeed, even traditional paintings change, collectors buy and sell, exchange, but so far they have never thought of buying pure imagination. Beeple landed in the castle is an astronaut walking, the first, alone, with steps into an alternate space. It moves a few meters away from one of the names that summons art as you’d expect it to be: Bacon. A genius, a teacher, a rebel, the translator of his age, a man who took the history of painting and tore it up while Beeple took the history of art and put it aside, and even just ignored it. Always from his words: “I don’t remember if I saw Michelangelo’s David. Perhaps yes, I have been in Florence for many years and it will happen, and I will look at it for a few seconds.” Usually Michelangelo does not look at himself for a few seconds and tries to capture an indelible memory, but everyone enjoys beauty as he thinks. There are no rules, except that you would expect a short circuit from a guy like this, but no. His invention runs smoothly with a famous painting, with an author so highly regarded, historical, criticized, and just celebrated by the Royal Academy of London. The statue is moving, the painting could not be more steadfast: its green background absorbs it, not by accident with the bottle. A hipster character often an alcoholic, a story that repeats itself and puts before you a person with no defined limbs, without the ability to move. Where do you want me to go? It’s there, motionless, implanted in the brain.

The contrast, surprisingly, isn’t all that shocking. Each visitor knows exactly which one to take home, even if he does not ask himself about the problem. The movable statue was made by a Swiss collector that paid $29 million at auction, and Bacon’s value is still more than doubled. At least in theory.

The combination is one of the many intersections that the show fits into, some perfect and some not, but the journey between Basquiat and Attia is worth a lot and the room dedicated to Richard Bell clears up prejudices. There is true love at first sight, like Cattelan’s hanging horse looking down on Dana Schutz’s family. Even in the bathroom you find Mariana Semenite rolls of toilet paper. Creativity decreased in everything. Everywhere. true or assumed.

It is not clear where the art is heading, he certainly has no intention of stopping.

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