My name is Luca Carboni, I do graphic design, I live in Cagliari. My work is situated in between graphic design and artistic practice, both on commission and self-initiated. I am open for stimulating collaborations. My interest is on practices that address present political conditions. I hold a BA in Graphic Design at the Gerrit Rietveld Academie and a MA in Art Praxis at the Dutch Art Institute.
MA Thesis at the Dutch Art Institute
Tutor: Varina Vishmidt
DON’T BUY THE HYPE: THE PAST IS NO FUTURE
WHAT ROLE CAN ART HAVE IN THE CONTEXT OF
A RE-EMERGENCE OF FASCISM?
Addressing the re-emergence of fascism from the perspective of cultural production requires an understanding of fascist phenomena and their cultural implications from their origins through to their seemingly incoherent and unpredictable contemporary developments. Attending to the dynamic relationship between “high and low culture” and how it may reinforce fascist tendencies within society is one of the key steps in shaping the struggle for progressive politics.
Seminar curated by Tirdad Zolgadhr, Rachel O’Reilly and Katya Sanders, and consisted of fellow students Anya Bitkina, Dina Mohamed, Matthieu Blond, Nina Støttrup Larsen, Samantha McCullough, Sara Cattin and Stephan Blumenschein. In our year long research, we investigated the complicities of Contemporary Art with gentrification, with the Netherlands and Athens (where we landed a year after documenta14, in a context heavily affected by a decade of imposed austerity measures) as case studies. Issues of race, gender and class, housing policies, the dissolution of the welfare state and triumphant neoliberalism, depoliticization, cultural capital and moral complicity populated the many intense sessions and readings. Eventually, as a group we realized that we couldn’t reflect on this topic without addressing our own ambiguous role –and the one of the institution that we are part of, in its new, very contemporary roaming trajectory– in this economy and in these mechanisms of exploitation, dispossession, and racism. As a result, we have collectively written a script as a way to dramatize our research and illustrate the many points of entrance in this dense and articulated topic, and we have performed it in front of large part of the DAI during the presentation week—with the precious help of Gigi Argyropolou and Hypatia Vourloumis for the dramaturgy. Here it goes: as a consequence for their constant roaming, a group of art students have started to become blurry, until they faded away completely. Contemporary Art, Real Estate, Locality, the School, and other carefully outlined characters animate a debate to find out who is responsible for what has happened. The performative reading of the script then evolved into a participated discussion about our own condition of artists, students and tutors, both in the DAI and more generally in the contemporary art economy. The way in which we travel, the impact that we have on the locations in which we land, and the relationships with their artists, institutions and economies at large needs to be approached in a way that does not reinforce the processes of gentrification and extraction which are already happening. The aim of the REALTY group, as it emerged from the whole year involvement with these topics, is to create the structural conditions for the whole DAI body to come together once a month and assume a more active role in the shaping of our own study environment, and the conditions under which we operate. At the end of the assembly, the will of the majority of the institutional body to open up a process of transparency and discussion emerged strongly. The intention is now to institute a platform for active participation and collective thinking, in the form of monthly gatherings of the DAI community, as a constant feature of the school in the years to come.