Until it Begins to Appear Oderly
on more than one occasion, as soon as his work has begun to follow a path that he finds too familiar, ricardo Villa has chosen to make significant changes to the way he conceives and produces his work. The main reason for this seems to be that the artist, more or less consciously, refuses any kind of comfort zone, which might turn into an immediately recognizable style. nor does he use a single medium. Hence, apart from moving from one support to another (in recent years, Villa has used sculpture, photography, drawing, installation and video), his work is deliberately designed to respond only to the demands of the subject he is working on, without allowing formal issues to intrude upon it.
Until it Begins to Appear Oderly, his first solo show at luciana caravello contemporary Art, is thus highly representative of his modus operandi. The relation between works is not established either by stylistic affinities or the common substrate, which is a reflection on the seminal works of some of the greatest thinkers of capitalist society, including economists, such as Adam smith and Karl marx, or philosophers and political thinkers, such as Herbert marcuse and Hannah Arendt. In the pieces included in this show, special emphasis is placed on Vilém Flusser and his reflection on the role speech and language plays in creating reality. This concept pervades this selection, in which the “prose line” of the book is transformed into “a drawn line”, as the artist himself puts it.
Investigation of the way thinkers who analyze society “construct” it, so to speak, through the language they use to describe it, thus forms the conceptual framework that confers unity on the group of works in this exhibition. on the other hand, one of the questions that has most interested the artist, concerns the role of works that are highly critical of the way capital is distributed in society, as are most of those presented here. Who is interested in them? Who buys them? Who is led by them to think in a way that they otherwise would not? Whether in the elaborate origami made using banknotes (in the series Articulating Principles: Origami, 2017), in the delicate topographical “drawings” using passages of classic texts in economy and political theory as lines (in the series Articulating Principles: Terrain, 2017), or in the colorful webs of Cruzeiro/Cruzado (2017), in which the idea of alienation generated by labor is even more striking, the questions remain the same. And perhaps even more significantly, they still, and always will contain no answers. Because these works were not designed to provide any kind of answer, still less solution, for contemporary society. mute and rigorous, they aim to play a simpler but undeniably important role in the theory of the times in which we live: to look out for, memorialize and point to the origins of the challenges that affect us daily.
Jacopo Crivelli Visconti