Kisses (Against dominion)

Every act of theorizing leads involuntarily to a threat and prelude to dominion. It installs a relationship that smacks of subordination, on the one hand someone who knows speaks, on the other someone who doesn’t know listens; someone explains and someone else tries to understand. But will the one who listens really know how to understand, or will he be marginalized and put in his place?
For his part, the one who theorizes must prove a great capacity for transmitting the content to his audience; that they should understand is not only an issue of hope or desire: in play is the very balance and survival of the relationship.
Unreeling the list of explanations, amendments, allusions and desires that inevitably arise in every attempt to transfer the thought from pure image to the descending and slippery slope of abstraction constitutes a possibility, even a work method. Opting for images, I wanted to avoid relying on weak words and theories. Except that the images alone would not have been sufficient, too exposed as they are to the subjects’ habit of investing them with anything that passes through their minds. At the same time, I feel an imperative drive and obligation of correctness not to indulge in self-pleasure for all those things that the image may contain and “say” before I or anyone has yet shown or said them explicitly. Better an efficient collaboration, with the observer having become part of the event thanks to his presence alone, and free to contribute to the action or to turn his back on it. But then, ideas in the form of images come before the words with which I try to justify them: on a terrace in the open air couples flirt with one another.
A black t-shirt serves to distinguish them. They do nothing more than look one another in the eye, whisper secret words, kiss each other for long periods. There are many of them, enough that they cannot pass unnoticed. Placed around the terrace at different points, they begin to kiss, the most innocent and scandalous act on earth. In this manner, a private event in a public place becomes a public event with repercussions in the private sphere of each spectator. This means that he or she among those gathered around the “actors,” asking for an explanation from someone nearby, may well hear the answer, “Let me explain, better yet, let’s kiss.”
This is a way to represent the ideal relationship between spectator and work of art, or with that which has taken its place. In order to put the shine back on utopia.