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GDS literally embodies the premises of contemporaneity: speed, accessibility, information, liquidity, globalisation, language. The processes of metabolization, assimilation, reinterpretation, ready-made acquisition (a word the artist wouldn’t appreciate referred to himself, I believe) and the use of codes, both noble and popular, lead him to investigate diverse fields in the construction of his own heterogeneous mythology. GDS has a unique ability when using the collective imaginary. Indeed with the insolence of someone loaded with open-source images, internet and social media, he dares to cross the border of appropriation into a gigantic archive, a converter of forms, themes, objects and ideas.


Walter Benjamin warned about the risks of the secularization of the artwork through its technical reproducibility, but here the theme of the artwork’s aura clashes with a wider, choral device, an actual experiences simulator. Seen like this, Alighiero Boetti becomes the iconic artist to enter into dialogue with, Bruce Nauman the source of bright wordplays, the Ikea prints the most dangerous challenge (for obvious copyright reasons). The distance between “high and low” culture disappears. The idea does not only overcomes the object, but also its production. It remains a secular ritual, the practice of which constitutes worship of beauty. The question GDS seems to ask himself is: how can we build our own creative identity in a world which makes art so accessible as to attach an instruction manual for its set-up? We live in a bubble of illusions: the illusion of being free, of being able to perform choices, of thinking, of being “creative”, even. We, the consumers, are aware of that... or maybe we are not, but we still “play along” and accept the rules. This way a standard ‘grid’ substitutes our ability even to just conceive a creative act, or to achieve an artistic gesture, a metaphor of a dream, sold for a few euros, or indeed only provided. The results? Identical walls filled with identical paintings, identical houses, identical dreams, and identical art. But if the stream of thoughts were to continue, it would lead us down a bad road. Warning! The artists alerts us that we are driving off towards an inflicted, misled, controlled mindset, exactly like the creativity sold-off by Mr. Ikea. What’s wrong with it in the end? Everybody can build a constellation with just a “bunch of stars”. And above all, which artist translates better than he the world we live in?


Truth be told by Gabriele De Santis
Frutta, Rome
Through March 4

König Galerie, Berlin
Wyn Evans’s research focuses on language and perception, and is characterized by the use of ephemeral elements such as light and sound, the use of montage as a compositional technique, and the imaginative potential of the word, as well as the centrality of the temporal and durational dimension in the experience of a work. At Pirelli HangarBicocca, Milan
For Standby Mice Station, with the full alliterative force of his deliberately nonsensical title, the artist has imagined just such an ensemble of new sculptures and images, the latter fashioned in that anachronistic technique of wood marquetry (mostly bygone in art, now more known in the realm of furniture making). at Kunsthalle Basel
Modern Art, London
Fondazione Morra Greco, Naples
Centro Arti Visive Pescheria, Pesaro
Francesca Minini, Milan