Lorenzo Marchi
conceptual art on phcootography

works/years 2008-2009 - series

Opera / Artwork
Mutted Lesson
The Kiss Album
Fantasmi / Ghosts
Appunti per il futuro
Casa sul fiume

Disasters of War
Carte / Terre
Open Windows

Mutted Lesson / Lezione imbastardita

As series generated from the Opera/Artwork concept, it throws a glance over the current art system by using certain features of the market, like price, to read critically and with a sarcastic tone the macroscopic distortions caused by marketing and by aberrations of the system itself. One realizes that the system can safely claim on one hand the extraordinary nature and uniqueness of the artistic product, and on the other to treat art like common goods in which all the spirit and quality of the work are only the spare wheel of its price. In fact the price is planned by circles of financial investment, away from debates and enlarged comparisons based on competition of value. Here are the icons that in recent decades have been acclaimed both by the investment market and by an obsequious criticism. Icons and symbols of ready-made and of old and contemporary conceptualism - like Duchamp’s Fountain and Hirst’s Skull, to stigmatize practices and value systems assumed - for better or for worse - as standards by the current players of the scene.

(LMReview No 5)


We all know there are no more live models to support studies of anatomy and figure, given that the web provides plenty of video and photographic material in a thousand variations of poses, and there is no mental disposition and time for such an old practice. From the web you can catch not only images but also contexts showing themselves through the written comments. And in this dual field - iconic and textual - the series is moving. 

It starts from a photo subject of female nude and works with traditional and digital techniques in repeated steps. Each outcome is then associated with a comment, often a short description written on web by the same authors of the available on-line sessions or by site visitors. Lines of explaination are not correspondent to photographs published for the same event, but disconnected and bond to another events, just to favour an emotional detachment from erotic environment, aided among other things by using fictitious censorial labels. The sentences are listed as registered with their acronyms, style and vocabulary of languages in use on the web. The set of texts, with information and comments, identifies an environment and a climate in which the participants come together and contribute to create or modify.

Ghosts / Fantasmi

This series appears in the dialectic of invisible screens interposing between civil society and political class. The series uses the immediate icons of comics, of public characters, of ancient art, to condense and to give form to the feeling of a civic detachement, with the sequences “Ghosts”, "Smile Italy!" and “Italy realized not to love me”. It’s the political and real country in which are even wandering the ghosts of justice and landscape, ideology of free information and corruption.