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No Final Answers
Andrea Bruciati

Henceforth, in what we call postindustrial capitalism, the products with which we are furnished are utterly without depth: their plastic concept is totally incapable of serving as a conductor of psychic energy, if we may express ourselves that way.

Fredric Jameson, Marxism and Form, Princeton University Press - 1971

Research per se is never based on final answers but on the formulation of counter-questions, pondering and investigating the mechanisms of functional or failed postindustrial social models. Along with objects, installations and the scenic layout of space, Benassi's works are like novels that analyse the construction of history, the demand for social utopias and their reality.

These contents represent the groundwork on which to structure tangible works that do not offer themselves as immediate images, but simply want to suggest possible scenarios.

Asking ourselves about the present using the conditional does not aim towards revision, but the identification of unfulfilled potential. In this sense, many artists from his generation interpret Calvino's premises of lightness to develop the image in terms of intensity and density, whereas in perspective they attempt to overcome the impasse of precariousness and fragility - factual and otherwise - to which so much of the art of the 1990s remained faithful.

What we want to emphasize instead is that the removal of weight does not imply a lack of proactive force, just as the lack of structure does not mean that the image is not alluring. This demonstrates that a certain type of operational and design gravitas has its own specific lightness that strives to liberate the work's fantastical potential.

Along these lines, the experimentation tied to linguistic assumptions gains renewed faith in the object and the ability to insert it actively in the space for an exercise in resistance. Benassi's works should be considered attempts to redefine the way we think about visual material, in which meanings often coincide yet fail to lead to any kind of synthesis.

The critical key can be found halfway between the various layers and the separate narrations of the work, and these intermediate stages are effectively loci with political potential.

© Andrea Bruciati, 2011