Giovanni Presutti simulates a digital parody that lists, alters, and transforms imaginary personal profiles that mix fictitious and role identities. Like a demiurge, he makes a metamorphosis that orders and turns primitive chaos into an explicit editorial message through a precise performance action. He describes this obsessive need for popularity and success that hides a disguised addiction. His intention is clear, evident, almost palpable. The purchase invoice with which everything begins turns into an image of the book. The flat dimension of the screen gradually becomes three-dimensional through imperceptible interventions that draw attention to the attitude of the observers, which is often passive. Presutti plays with perception and makes fun of common sense while revealing a social lexicon pulled out of its context by stripping down its features and making it even less plausible. The simultaneous presence of all the events in the world and the monstrous flow of data destroy our ability to memorize them and inhibit our critical reaction power. We can now use symbols like smiles, hearts, and comments that are useless, fake, mediocre, bizarre, and limited. We are helpless, dazed, and addicted to the prevalence of communication possibilities over content. Reality loses its nuances, its depth, and its importance. Good and evil look just the same.
Giovanni Presutti
urbanauticainstitute.com (bookshop)
urbanautica.com (review)
Giovanni Presutti simulates a digital parody that lists, alters, and transforms imaginary personal profiles that mix fictitious and role identities. Like a demiurge, he makes a metamorphosis that orders and turns primitive chaos into an explicit editorial message through a precise performance action. He describes this obsessive need for popularity and success that hides a disguised addiction. His intention is clear, evident, almost palpable. The purchase invoice with which everything begins turns into an image of the book. The flat dimension of the screen gradually becomes three-dimensional through imperceptible interventions that draw attention to the attitude of the observers, which is often passive. Presutti plays with perception and makes fun of common sense while revealing a social lexicon pulled out of its context by stripping down its features and making it even less plausible. The simultaneous presence of all the events in the world and the monstrous flow of data destroy our ability to memorize them and inhibit our critical reaction power. We can now use symbols like smiles, hearts, and comments that are useless, fake, mediocre, bizarre, and limited. We are helpless, dazed, and addicted to the prevalence of communication possibilities over content. Reality loses its nuances, its depth, and its importance. Good and evil look just the same.
Giovanni Presutti
urbanauticainstitute.com (bookshop)
urbanautica.com (review)
Hi! I am Steve, a professional in the field of photography and visual arts, with a background as a curator, art director, and educator.
I’m a “mestizo,” as they say—Venetian on my father’s side, with a French surname that dates back to Napoleon’s campaigns, and a soldier from around Montpellier. My mother was born in Belgium to a Dutch family. My grandfather from Hoboken, New Jersey, on the Hudson River. I grew up a bit here and there; I currently live in Paris.
I have known the world before smartphones, computers, and the internet. Before low-cost flights. The backseat of my father's car was my window. Studies pushed me to embrace complexity, a quite observation. A gaze that "touches," that dares in some way, that strives to forge a connection.
I spent the past 20 years questioning the role of images in society.
• Coaching and Portfolio Review
Go to Coaching and Portfolio Review page
Steve Bisson has also been giving lectures, mentoring, and collaborating with cultural and educational institutions worldwide such as: Lasalle College of Arts (Singapore) | Novia University, Master of Culture and Arts, Entrepreneurship in the Arts, and Photography (Finland) | FotoDepartment (Russia) | Museum of Contemporary Art of Vojvodina (Serbia) | FAAP – Fundação Armando Alvares Penteado (Brazil) | Fondazione Benetton Studi e Ricerche (Italy) and multiple other academies and institutions.
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Design by Roberto Vito D'Amico
Hi! I am Steve, a professional in the field of photography and visual arts, with a background as a curator, art director, and educator.
I’m a “mestizo,” as they say—Venetian on my father’s side, with a French surname that dates back to Napoleon’s campaigns, and a soldier from around Montpellier. My mother was born in Belgium to a Dutch family. My grandfather from Hoboken, New Jersey, on the Hudson River. I grew up a bit here and there; I currently live in Paris.
I have known the world before smartphones, computers, and the internet. Before low-cost flights. The backseat of my father's car was my window. Studies pushed me to embrace complexity, a quite observation. A gaze that "touches," that dares in some way, that strives to forge a connection.
I spent the past 20 years questioning the role of images in society.
• Coaching and Portfolio Review
Go to Coaching and Portfolio Review page
Steve Bisson has also been giving lectures, mentoring, and collaborating with cultural and educational institutions worldwide such as: Lasalle College of Arts (Singapore) | Novia University, Master of Culture and Arts, Entrepreneurship in the Arts, and Photography (Finland) | FotoDepartment (Russia) | Museum of Contemporary Art of Vojvodina (Serbia) | FAAP – Fundação Armando Alvares Penteado (Brazil) | Fondazione Benetton Studi e Ricerche (Italy) and multiple other academies and institutions.
—
Design by Roberto Vito D'Amico