Amazzonia Revival, 2020.
Sound interactive installation.
Dimensions: 230 H x 300 W x 200 L cm.
Ph credit & courtesy of the artist.
Come è noto la foresta amazzonica è un patrimonio naturale inestimabile da cui dipende l’intera esistenza del nostro pianeta.
Nel 2019 sono bruciati circa 12 milioni di ettari di foreste in Amazzonia.
Il sistema Terra nella sua interezza funziona attraverso alcuni grandi sistemi ecologici fondamentali e l’Amazzonia – ricorda il WWF – e uno di questi: genera pioggia, raffredda la terra, assorbe gas serra e custodisce il 10% della biodiversità animale e umana.
Chi studia l’Amazzonia sa che stiamo drammaticamente raggiungendo un punto di non ritorno. Nel solo mese di agosto 2019, sotto il governo Bolsonaro e le élites capitalistiche che lo appoggiano si sono raggiunti tassi di deforestazione 222% più intensi.
Gli incendi in Amazzonia costituiscono inoltre un genocidio delle tribù indigene che sono i migliori custodi della biodiversità. Occorre mobilitarsi affinché entro il 2020 venga conservata una copertura forestale sufficiente per mantenere i modelli climatici all’interno delle loro gamme naturali di variazione e costituire la resilienza regionale ai cambiamenti climatici.
Queste tematiche ambientali sono molto care all’artista che da sempre difende il pianeta attraverso il suo attivismo nell’arte e nella vita. Ogni riferimento ai fatti attuali vicini o lontani hanno su di Piero Gilardi un impatto deflagrante, tanto da essere ancora oggi uno dei più attivi artisti italiani in grado di creare mobilitazione in tutte le coscienze, dalle più sensibili a quelle purtroppo ancora oggi disinteressate all’ambiente. Sfortunatamente per l’umanità la distruzione della biodiversità e dell’ecosistema ha agevolato la diffusione del virus a livello globale. [V.C.]
As is known, the Amazon rainforest is an invaluable natural heritage on which the entire existence of our planet depends.
In 2019, about 12 million hectares of forests in the Amazon have been burned.
The Earth system in its entirety works through some large fundamental ecological systems and the Amazon – remembers the WWF – and one of these: it generates rain, cools the earth, absorbs greenhouse gases and preserves 10% of animal and human biodiversity.
Those who study the Amazon know that we are dramatically reaching a point of no return. Only in August 2019, 222% more intense deforestation rates were achieved under the Bolsonaro government and the capitalist elites that support it.
The fires in the Amazon also constitute a genocide of indigenous tribes who are the best custodians of biodiversity. It is necessary a mobilisation so that by 2020 it is maintained a sufficient forest cover to keep the climate models within their natural ranges of variation and to constitute regional resilience to climate change.
These environmental issues are very dear to the artist who has always defended the planet through his activism in art and in his life. Any reference to current events near or far from him has a deflagrating impact on Piero Gilardi, so much so that he is still one of the most active Italian artists capable of creating mobilisation in all consciences, from the most sensitive to those still disinterested in this environmental issues. Unfortunately, for humanity, the destruction of biodiversity and of the ecosystem has facilitated the global spread of this virus. [V.C.]
Piero Gilardi lives and works in Turin.
In 1963 he held his first solo show, entitled Machines for the future. In 1965 he created his first body of works in polyurethane foam and exhibited them in Paris, Brussels, Cologne, Hamburg, Amsterdam and New York. As from 1968, he stopped producing regular artworks to engage in the new artistic trends of the late ’60s. Arte Povera, Land Art and Antiform Art. He took part in setting up the first two international exhibitions of the new trends at the Stedelijk Museum in Amsterdam and at the Bern Kunsthalle.
In 1969 he started a long trans-cultural experience to conceptually analyse and practise the “Art/Life” combination. As political activist and animator of youth culture, he organised several experiences of collective creativity on urban and “world” fringes, such as Nicaragua, Indian Reserves in the USA and Africa.
In 1981 he resumed his activity in the art world an exhibited installations, accompanied by creative public workshops. In 1985 he started an artistic research project with new technologies with the elaboration of the IXIANAproject (which was presented at the Parc de la Villette in Paris). This work consisted of a technological park in which the public could artistically experiment with digital technologies.
During the ’90s he developed a series of multimedia interactive installations and international activities. Along with Claude Faure and Piotr Kowalski, he formed the International Association Ars Technica. He presides over the international association “Ars Technica” which has promoted two Arslab exhibitions of neo-technological art in Turin (Arslab. Metodi ed Emozioni in 1992, Arslab, I Sensi del Virtuale in 1995, Arslab. I labirinti del corpo in gioco in 1999). He has published two books of theoretical reflection about his varied forms of research: Dall’arte alla vita, dalla vita all’arte (From art to life, from life to art), La Salamandra, Milano 1981 and Not for Sale, Mazzotta, Milano 2000 and Les Presses du reel, Dijon 2003. He writes articles for several different art magazines such as Juliet and Flash Art.
He had promoted the project of PAV – Parco Arte Vivente (Living Art Park opened in 2008 in Turin) which will contain a compendium of all his experiences concerning the relationship between Nature/Culture.