Strategia Della Tensione By Faber Lorne
“Strategia Della Tensione” is plans to be made with plastic fence used on construction site. Once placed in a specific environment, the plastic fence of safety activates the temporary subtraction of a space, thus marking an absence of functionality. Placed on contours of the buildings in construction, it protects the people from the fall by delimiting a space soon invested by tools with the service of the production of abstraction.
The plastic fence is a tool made of hole and of full that produces safety in reality. Following the example of data processing, it is a binary tool. If one protects oneself from the real fall, how to protect itself from a fall in an abstract system? The unconscious one, permeable structure, immaterial territory which enter and from which the others leave. These intrusions format our behaviors and actions.
“Strategia Della Tensione” is a research of the traces left by the human nature within a made world of abstract systems. Of what shows through of individual desire through the computerized movements.
The application of a secret ultra violent policy is put resonance with the strategies of marketing adopted by multinationals there. The political oppression of the citizen by the creation of an artificial climate of tension is envisaged as metaphor to investigate the climate of tension into which the advertising and the media plunge what they name "a consumer". Financial stalls in which the desire to possess plunge us, the pressure of to appear, the professional instability, the fear of the fall into the precariousness are so much tools set up with the aim of containing the masses to the static state, calcified, attached to the pillory.
"Strategia Della Tensione" refers, by the semantic duality that it’s proposes, to the duplication of the ego, prerequisite in the phenomenological experience. This piece invites the viewer to travel through the signs that form a tense and contemplate his person in motion.
I am Faber. Since I was 13, people have been calling me “Faber”. The etymology of my name has two definitions. The first is “the worker”, and the second “he who works with art”. I have lived most of my life under the first definition. “The worker” is what I was.
Psychoanalysis and several physical traumatisms helped me to realize that I was dependent on others, that I was alienated by the city. For me, the city was this great authoritarian and castrating lady. The reorganization of my life was done through the analysis of the words I used to describe it. This human and linguistic experiment allowed me to read between the lines of my life. That’s where my interest for “reading between the lines” of urban plans found its origins. However, it is mainly by listening to the vocabulary we use to access the city that I realized that the city was man’s invention, a place where visions complement each other, are opposed, and confront each other. It is this place where subjectivities meet, where you can see the conflict of ideas rise. If things are not what they are, then reality is malleable. While driving my truck, I saw the walls become liquid surfaces in front of my eyes. That’s how I started to comprehend the city as a matter, rather than a tool. It’s the discovering of the second definition of my name – Faber: he who works with art – that made me change direction. I redefined my life by exchanging my worker toolbox for a box of conceptual tools.
I trace the beginnings of my artistic course through materials, colors and objects, which are specific to the working field, components of my previous professional and cultural universe. To create interactions between people by proposing participative devices, are as well of experiments of observations as I translated, up to now in drawings, installations and texts.
The city is an urban area of lines in perpetual evolution. Its construction is an addition of ideas, which have taken precedence over others. It is this place where subjectivities clash. By investing, by the analysis, the between-line of the plan of architecture, I put in resonance the construction of the city with the construction of ego. I explore construction of the desire, the anguish, alienation, the speech, the direction and perception, by penetrating the space left at the time of each act of creation
Strategia Della Tensione By Faber Lorne
“Strategia Della Tensione” is plans to be made with plastic fence used on construction site. Once placed in a specific environment, the plastic fence of safety activates the temporary subtraction of a space, thus marking an absence of functionality. Placed on contours of the buildings in construction, it protects the people from the fall by delimiting a space soon invested by tools with the service of the production of abstraction.
The plastic fence is a tool made of hole and of full that produces safety in reality. Following the example of data processing, it is a binary tool. If one protects oneself from the real fall, how to protect itself from a fall in an abstract system? The unconscious one, permeable structure, immaterial territory which enter and from which the others leave. These intrusions format our behaviors and actions.
“Strategia Della Tensione” is a research of the traces left by the human nature within a made world of abstract systems. Of what shows through of individual desire through the computerized movements.
The application of a secret ultra violent policy is put resonance with the strategies of marketing adopted by multinationals there. The political oppression of the citizen by the creation of an artificial climate of tension is envisaged as metaphor to investigate the climate of tension into which the advertising and the media plunge what they name "a consumer". Financial stalls in which the desire to possess plunge us, the pressure of to appear, the professional instability, the fear of the fall into the precariousness are so much tools set up with the aim of containing the masses to the static state, calcified, attached to the pillory.
"Strategia Della Tensione" refers, by the semantic duality that it’s proposes, to the duplication of the ego, prerequisite in the phenomenological experience. This piece invites the viewer to travel through the signs that form a tense and contemplate his person in motion.
I am Faber. Since I was 13, people have been calling me “Faber”. The etymology of my name has two definitions. The first is “the worker”, and the second “he who works with art”. I have lived most of my life under the first definition. “The worker” is what I was.
Psychoanalysis and several physical traumatisms helped me to realize that I was dependent on others, that I was alienated by the city. For me, the city was this great authoritarian and castrating lady. The reorganization of my life was done through the analysis of the words I used to describe it. This human and linguistic experiment allowed me to read between the lines of my life. That’s where my interest for “reading between the lines” of urban plans found its origins. However, it is mainly by listening to the vocabulary we use to access the city that I realized that the city was man’s invention, a place where visions complement each other, are opposed, and confront each other. It is this place where subjectivities meet, where you can see the conflict of ideas rise. If things are not what they are, then reality is malleable. While driving my truck, I saw the walls become liquid surfaces in front of my eyes. That’s how I started to comprehend the city as a matter, rather than a tool. It’s the discovering of the second definition of my name – Faber: he who works with art – that made me change direction. I redefined my life by exchanging my worker toolbox for a box of conceptual tools.
I trace the beginnings of my artistic course through materials, colors and objects, which are specific to the working field, components of my previous professional and cultural universe. To create interactions between people by proposing participative devices, are as well of experiments of observations as I translated, up to now in drawings, installations and texts.
The city is an urban area of lines in perpetual evolution. Its construction is an addition of ideas, which have taken precedence over others. It is this place where subjectivities clash. By investing, by the analysis, the between-line of the plan of architecture, I put in resonance the construction of the city with the construction of ego. I explore construction of the desire, the anguish, alienation, the speech, the direction and perception, by penetrating the space left at the time of each act of creation