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    (artist statement)

    Léo Luccioni ● May 20, 2020

    ● TRUTHS

    I embrace the existence of an unambiguous reality and multiple truths. Paradoxes and contradictions must coexist and be accepted.


    I am a counterfeiter of the valueless – of what we consume from our environment and what we throw away. I am a member of the consumer society, except that, with other tools, I produce other mediums, other logics, and an overriding ambition to create parallel truths.


    The meaning of my creations lies in what they tell of their beginnings and their mutations; and the approach shifts away from a conventional artistic or industrial output. The juxtaposition of many concepts allows a simultaneous analysis of contradictory ideas.


    As a central creative act, I initiate a relationship by placing a number of values, visions, concepts, symbols, and stories on the same level. And with this collection of relational and independent objects, I aim to create a fictional atlas.


    In art, every multiple is called original. Alongside this, our consumer society makes each of us the sole owner of a multiple object.


    Industry reproduces identical objects. This seemingly infinite cloning force makes us believe in the permanence of things and of the world. However, these objects to which we are attached, are soon outdated, and modified, or even discontinued in our society’s search for an increasingly faster, larger, more diversified, and innovative production.


    The quest for immortality has failed except for immortalizing what it least appreciates – waste. If humankind were to die out, it is this heritage that would remain for millions of years.


    Our civilisation is destined to decline. It exploits its resources and promotes a vision of a materialist, individualist, and mercenary world that favours short-term interests and ephemeral pleasures to the detriment of ecology. What will survive of humanity will not necessarily be human


    The system pushes us to buy goods beyond our needs and designed to be short-lived. This prevents us from becoming attached to our everyday existence and to give our possessions a background of atmosphere and stories.


    Our society does not meet our need for individuality; instead, it creates the illusion of being different from others at the same pace as the global production of cultural merchandise.


    Many artists are entrepreneurs or business executives. They delegate some creations to technicians, machines and industry tools. This art production circulates in a global export-import logic identical to that of other products; except that the actors have different names, institutions, museums, galleries, exhibitions and collectors. Art is a commodity – it is capital. These production systems are often neglected by artists.


    Historically, unattainable technical know-how had a sacred value. Paradoxically, industrially produced objects have none, even though their technical production is as out of reach. The commonplace of everyday life is a misunderstood and underrated environment.


    As far as technology is concerned, the industry is far ahead of art. Artistic mediums are often old industrial procedures, and no doubt, today’s technology will follow suit: first indifference and ignorance, and then reappropriation, transgression, and finally, sacralization.


    Our generation has made a revolutionary transition. It has jumped from a society where one had to memorise learning to master the environment, to a society where it is enough to know where to find the information in order to know it. The answers are always accessible and no longer have to be memorised. We have moved from an accumulation of knowledge to that of networks. We no longer live with memories, but in reminiscence.


    We cut free from reality with little restraint. Our field of vision is reduced to repetitive closed circuits. We have more and more time to amuse ourselves in a moral and intellectual lethargy, which allows us to distance ourselves from reality and its attendant evils. Everyone expunges, avoids, and protects themselves from certain realities.


    In today’s world where information is constant and infinite, it is practically impossible to keep up to date with what is going on around us. We are stuffed with images and incapable of discerning what is essential and what is insignificant; we are desensitized and impotent against what we can see and what we cannot understand. This elusive present always leaves us lagging behind. These omnipresent images also create a deficit in the imagination. The time spent in front of our screens, is merely time spent away from our dreams, self-invention, of new histories and solutions.


    Boundaries tell us that there is an inside and an outside. Fiction is at the edge of reality, but fits into it. Many examples prove that fiction influences science and that the imagination can modify reality. We are constructed as much by past experiences – imagined, dreamt, and heard – as we are by outside events that invite themselves into our reality through different media, some of which we desire and others that impose on us.


    The media and industry are always informing us and producing new things. Yet at every turn they present us with the same elements recovered from the past in a new configuration.


    Our environment, which reveals realities that are endlessly transformed and repeated, might lead us to think that our infinite world is finite: that all its constituents are already present and that no innovation will be new. Finally we would need to start from zero, otherwise, in our modular world, the only inventions will be in the arrangements, the connections, the additions, and the names given to things. That which will be, already is.