RICCARDO BENASSI
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no, no place to sit is an Audio Compact Disc produced by Museo Marino Marini and Fondazione Pastificio Cerere in a limited edition of 100 copies with a small fanzine.

It collects images, sound and ideas related to the homonymous installation realized by Riccardo Benassi for the space of Galleria Civica of Modern and Contemporary Arts of Arezzo in the 2009.

With a texts by Federica Bueti, and a discoursive tracklist by Riccardo Benassi
layout and images by Riccardo Benassi
2010

Stop there, sit down and observe the collective response to the reality, the objective relation that defines proximity and distance, reality and fiction. Then an echo spreads like a profound change in perception, such a phenomenological shift dissolving any possibility for fixed and established parameters.What kind of potential movement is in there? This is the story of an ascensional movement, from the object to the subject, to a collective body and to a participatory form. The action took place within the rigid definition of architecture, the white cube exploits the sensual rhythm of a flow, an endless adjustment, a conversation between different parts of the same body.

And then silence, an absence or none. This is just the punctuation that forces the conversation to take another form inside the unshaped reality of a fictional place. Now and again the room and the discourse go on. A spiral movement invests the chairs, the man and the idea of a possible reconciliation. What was the role of design at the post-industrial time? It created an anti-object, a series of attributes that freed the object step by step from its base and messed up its nature and its function, just like a paradox of de-functioning that reveals the master plan of the human nature. The desire for creating spatial residues as container for eternal memories. The object is alway the same, but we change the prospective. Through this lens the nature is a kaleidoscope of intentions, refusals, new relations and an endless negotiation. But he is not interested in the object itself; rather, he is interested in what surrounds him, in the imagination of a different level of reality, a more and more intriguing structure that can support the journey.

The object and the artist have in common a physical bent for changing position, assuming a different prospective and dreaming the unknown. Every angle, line, circle, wall or window become the gate for the new to appear.The object is not the object and the chair is not simply the chair, it rather becomes a vehicle for investigating reality. The vehicle is the shared device for a multiplicity of destinations. Where are you going? Just traveling through time and space to reach for the point at the intersection of potentiality and reality. Do you know this place? Once I saw it, but then I've lost the way to rediscover it again now. Yes now. Under an ecstatic crowd I can see the shape. It was a common land and now it looks like a game where the unique rule was to come over standardization through participation.

Every identity is sacrificed to a possible relation. The centre and the periphery are equivalent and are both contributing to the same focus: individual and collective aim to re appropriate the possibility of production. And now, Do you remember what happened in the countryside? People were celebrating the repetition, moving through this transitional space, where they cannot realize any direction. The movement points forward the infinity, the imperceptibility, the magic. The magic. What does remain here of the magic? A soundtrack composed with the purity of a child, a new kind of processing and the uncertainty of the rhythm. In the process of analyzing and synthesizing what remains is the sense of time we have spent together, the juxtaposition of different memories, the multiple perception, the misunderstanding. Condensed in the atom lives different experiences. The whole for the part, the part for the whole. Half plan and half improvisation. The sense of participation lies in the relation.

The world is such a rebus where signs, objects and sounds combine and recombine themselves in an interminable process of perpetual re-inscription and re-interpretation. So... What is my role in this complex pattern of subtle and circular lines? I listened then I understood that I was moving, the hand grasping the air, my feet disappearing inside the soft floor, my mind becomes a flow of empty desire. I finally feel part of this uncertain state. I realized that nothing new was happening, the primitive desire of transposing what is done for grasping what has to become, remains alive and bold. Then stop. Sit down and observe, stop, look around and reflect. You can see this space in between, you can see my words disappear. Clack. The cd stopped. I have to play on, but I'm not so sure that I want to do this, I think you understand, I think you can play on. You got the sense, my son. I hope you stand up and decide where you want to place your side.

© Federica Bueti, 2010