GIOVANNI CASU STUDIO

Illusio

HOW THE VALUE APPEARS

SENSE OF VALUE

HOW THE VALUE APPEARS

CHAPTER IV

ON HAVING BEEN HERE

CHAPTER III

HOW THE VALUE APPEARS , THIS IS NOT THE PRESENT

CHAPTER II

IN THE GREY OF TIME

miirror_iron

CHAPTER I

HOW THE VALUE APPEARS

acquisition of five artworks fragments without buying, exchanging or without stole them

THE CREATION & STRATIFICATION OF VALUE OF A BERBER RUG PRODUCED IN THE ATLAS MOUNTAINS

HOW THE VALUE APPEARS

Value* defines artworks because works of art are intercorrelated historically, by tradition to the phenomenological experiences of value. How the value appears gather different kind of value expressed in an artwork. Value is intended as constitutive element of the artwork in the same respect its materiality or the concept that generates it. In this sense, value is also sensible, perceptible and expresses the immersion of the work in the economic flow, in the flux of information and in the artistic context. “The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition. This tradition itself is thoroughly alive and extremely changeable.” -The journey of the aura of the black stone of Cyprus indicates and invite to re-trace simply the fluctuation of the Aura (understood in the Benjaminian sense) of a found stone. It traces the adventure of a found object that has become one of the most precious objects of the ancient world, inestimable by definition. The aura of the black stone of Cyprus has changed and fluctuates as indicated by Benjamin together with the value and the context. The value in this case was born in an animistic context, it went through an era of ritual and religious value and then changed, disappeared and reappeared regenerated by an archaeological rediscovery in a completely new context; today this journey is enriched by the contemporary art one. -Atlas Rug explores a classic aspect of value creation through a production protocol that obliges the traditional concepts of use value and exchange value to remain unavoidably visible and separate in the perception of the carpet itself. Paradoxically, this mechanism has created an object that reproduces the dynamics of exploitation that it denounces and represents at the same time. -Before Painting (500 hours) describes a more classical process: a procedure force the repetition of a gesture that contain, “jellify” the work of the artist who touched, scretched, sandpapered the surface of the 3 canvas for 500 hours circa each. During the impossible task to verify the 2D flatteness of the canvas surface the ritual of the preparation of the canvas bifurcate. -Five ways to de-reificate an artwork is the result of an gathering activity started in 2021, a collection of fragments questioning the very possibility of an artwork the resist reification and commodification reducing it to a object with it s value suspended.

IRON POWDER LINE AFTERWARDS

IN THE GREY OF TIME

DRAWING THE HORIZON WITH SUN

THIS IS NOT THE PRESENT

THE JOURNEY OF THE AURA OF THE BLACK STONE OF CYPRUS

HOW THE VALUE APPEARS

black-stone

PURE GREY: GRAPHITE DUST

HOW THE VALUE APPEARS , IN THE GREY OF TIME

IN THE GREY OF TIME

IN THE GREY OF TIME

PURE GREY IRON POWDER PATA-ARCHEOLOGY

IN THE GREY OF TIME

an experimental archeology verification procedure about find pure grey as iron powder in the sardinia beaches after a stormy night

FIVE WAYS TO DE-REIFICATE AN ARTWORK

HOW THE VALUE APPEARS

FIVE WAYS TO DE-REIFICATE AN ARTWORK

BEFORE PAINTING. 500 HOURS OF LABOUR JELLYFICATION PROCESS

HOW THE VALUE APPEARS

BEFORE PAINTING. 500 HOURS OF LABOUR JELLYFICATION PROCESS

DRAWING THE HORIZON WITH THE SUN

THIS IS NOT THE PRESENT

photo performance (6 hours exposure) by Stefano Urani. w/ Mamiya RB67 analogical medium format camera with 0.30mm stenopeic pinhole. On Ilford Panf PLUS b/w, 50 ISO film. Developed with contact print. 40mm x 50mm.

ONE GRAPHENE LAYER

THIS IS NOT THE PRESENT

ONE GRAPHENE LAYER

DRAWING THE HORIZON WITH THE SUN APPEARANCE IN AN EMPTY ARCHIVE ROOM

THIS IS NOT THE PRESENT

a wall-photo applied behind an mobile archive

WHEN THE RISING SUN

ON HAVING BEEN HERE

SEVEN WAYS TO LOSE IDENTITY

THIS IS NOT THE PRESENT

3 years collecting found objects that lost their identity

IRON POWDER LINE AFTERWARDS

IN THE GREY OF TIME

IRON POWDER LINE AFTERWARDS

PURE GREY: GRAPHITE DUST

IN THE GREY OF TIME

PURE GREY GRAPHITE DUST

ON HAVING BEEN HERE

ON HAVING BEEN HERE

THE JOURNEY OF THE AURA OF THE BLACK STONE OF CYPRUS

HOW THE VALUE APPEARS

FIVE WAYS TO DE-REIFICATE AN ARTWORK

HOW THE VALUE APPEARS

CMYK Dots. Street art installation by CMYK Dots in Große Berliner Damm. Foam and pigments (removed on November 5th, 2021. It is part of a bigger series of work, the artist report in his website “The mission is to place 1000 CMYK Dots in 100 cities and 10 different countries”. Right after the removing, 3 police agents kindly stop us, alerted by the japanese saw and the portable wooden ladder. They asked many questions about our action and they certified “street art is art” but also that to remove street art from the street it is not forbidden. It is forbidden to install it, so legally we just clean the wall from something supposed to not be there and we acquired the piece with police offcers approval.

THE CREATION & STRATIFICATION OF VALUE OF A BERBER RUG PRODUCED IN THE ATLAS MOINTAINS

HOW THE VALUE APPEARS

FIVE WAYS TO DE-REIFICATE AN ARTWORK

HOW THE VALUE APPEARS

D) Urs Fischer. Untitled (Giambologna), 2011 at Bourse de Commerce, Paris. (Small wax fragment). Acquired on October 2021 in Paris: the piece is a small fragment collapsed in the exhibition floor during the melting of the main gigantic Urs Fischer sculpture. There was thousens of fragments all around, so I took it as souvenir. The main remain pieces of the gigantic wax sculpture, I supposed will be in the future maintained in the exhibition Bourse de Commerce space or stored as work of art. But what happened to the other thousens of small pieces?
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