dal ready-made al no-made

Sotto l’onda lunga e lunghissima del neoconformismo la macina della moda aveva dissipato la realtà trasfigurando ogni genere di cosa in un oggetto di godimento, e in giro non si vedeva più orrore o abiezione umana, né intollerabile miseria sociale capace di sottrarsi all’organizzazione spettacolare dello shock e del trauma.
Anche l’arte e la critica si erano da tempo associati in questa lucrosa impresa, perfezionando la combutta di rinnovare il mondo per conservarlo così com’è. (Diversamente, sarebbe forse possibile mantenere l’ecumenico imbroglio che chiama morto ciò che non è mai nato e vivo qualcosa il cui fetore guasta i polmoni e fonde i ghiacci perenni?)

“Il mito è la figura di un testo inabissato”, avevamo letto sul muro di recinzione della Centrale del Latte di Roma.
Ecco! – ci siamo detti. Per sottrarre l’immagine al rifornimento degli apparati produttivi dell’odierna pasticceria oftalmica non basta più il commento secco della didascalia[1]; bisognerebbe affidarla almeno al testo sviluppato di un discorso nel quale didascalia e immagine si trovano accartocciate. 

from ready-made to no-made

Under  the long, the very long wave of neo-conformism, the mode grinder had squandered reality transfiguring everything into an object of enjoyment. All around there was no more horror or human meanness (depravity), neither intolerable social misery capable of escaping the spectacular organization of shock and trauma.
Time had passed since Art and Criticism joined this lucrative venture improving the plot to renovate the world in order to preserve it as it is.  (On the other hand, would it be possible to preserve the ecumenical fraud that calls “dead” one thing that was never born and "alive" something that with its stench spoils one's lungs and melts the glaciers?)

“Myth is the image of a sinking  text”, that’s what was written on the enclosing wall of the Milk Centre of Rome.
That is it! - We said to ourselves. In order to rescue the image from the fumishing productive apparatus of today’s ophthalmic bakery, the dry didactical comment is no longer enough; it should be trusted into a developed text of a dialog in which the legend, and the image are wrapped up.

Certainly, the classical utterance remains valid, according to which a simple picture of the Krupp Industry or AEG does not say almost anything regarding the social and human relationships that regulates the “true reality” of that Industry...
Nevertheless, that picture cannot avoid to take in account its own true reality, even betraying it a little, like leaving a revealing sign on the scene of the crime.
In order to regain a general capacity to return, from “almost nothing”, to a text and to the context of a reality refrained by the discredit of intelligence. Is it not necessary, at least, to reposition  the eye and ears in a  clarifying distance... from the pressing bark of an opinion?

...We were on the verge of leaving, but the absurd vice of breading prevailed... that is to say, renegotiating the missed acts trough staging the nomade...