After a few researches I found a document about it and specifically something about Joseph Kosuth. I didn't know him and I couldn't understand the text that was in English or Italian. At that point, moved by a strong curiosity, I decided to bring it to someone able to translate it. Finally I brought it to the legal translator in Shkoder that usually translated complaints and divorces, various kind of contracts and trades. After a few days I could take it translated and notarized with the seals and I finally started to read it. It was so, that I started getting to know something about contemporary art.
-Your work is highly related to political, sociological and philosophical aspects and thoughts. What are your main interests and focus within your art practice?
I do comprehend the philosophical thought activity on a singular immanence level where the preparation of an action and the consequent effects, are not immediately given back.Here, and in perfect contrast with a predominant and simplistic perspective, the slowness emerges with a new potentiality. I am referring to the '' presumed slowly'' and the ''idlers'', mentioned by Gilles Clément to whom he entrusts the ''project of tomorrow''.
-Who influenced you mostly until now and why?
Every influence, until now, has been fleeting. At the moment cinema stays important in my affection's concatenation. Not all cinema. It comes to my mind the cosmic melancholy and the monumental phlegm that covers the characters in Béla Tarr, from Almanac of Fall (1984) and on after.
-Can you tell me more about 'Untitled #2' and 'Ich will' projects ?
Both in Untitled #2 (2016) and in Ich will (2010), the human action, more than staying minimal, is always in connection with something indirect and distorted. Aforementioned is the tendency in the glass structure of Ich will that afterwards comes out as a swastika. On it are spilled primary colors that thanks to the oblique construction, make the color fusion possible. The mixed between a broken wing and the others, produces the secondary colors. So it is the sea surface and the horizon line in Untitled #2 that, for real, belongs to the sand dune, flatted in this case by the inclination that the video camera takes being set over its diagonal line.
-And what about Karrer and Nottetempo?
In Karrer (2014) I tried to deconstruct in a sort of site-specific, the principle and sake name character of Damnation (1988) by Tarr. It is about a work specifically created for an event based in Prato, in the near of Florence, in two distant spaces that had to be seen by the public. In both I brought the same thing: a monitor TV that, on the form of mute cinema's titles, transmitted a short fragment of Ezekiel. Two headphones installed in a corner of the room, let the visitors hear a human bark against a dog. The passage of Ezekiel announces the end of humanity, between plague and dearth – “Who is far will die of plague, who is close will fall of sword” – was written in Hungarian therefore not understood from the most.
Nottetempo (2016) is an animated series in progress of drawings I do on my smartphone. It is a support that determines in some way the economy of signs and lines that I create, making recognizable the minimum indispensable. This increases the characters in a new, grey and luminous direction through actions that are not those of the cinematographically context nor of the story where they were extracted. An helicopter drags a whale and seems wishing to crush a person and a dog that try to escape; four nuns enter and exit from the framing, meeting and crossing; under a bed of a couple who is sleeping, a cat comes out and jump into the harms of a little girl, reducing in a heap of signs that a shovel throw systematically away. This was recently realized in occasion of my solo exhibition at Villa Romana in Florence, titled All my colors turn to clouds, built entirely on light and sound and in total absence of colors (a part the colors of the preexisting doors).