VHB 26 F - atomic consequence (2023) Skulptur von S C H A S C I A

Riproduzione completamente manuale in Argilla di un classico carburatore Italiano.
Il manufatto in Argilla morbida è impattato con il suolo da un'altezza di circa 1500 mm. la conseguenza è una deformazione per spiaccicamento del manufatto.
Nonostante la sua deformazione il carburatore è stato cotto in forno industriale ad una temperatura intorno al migliaio di gradi Celsius.

In the heart of the industrial silence that announces the end of functional morphologies, this sculpture, which only for an excess of irony we could continue to call "carburetor", presents itself as an object that rejects its own mechanical genesis, leaving us in front of an ontological hybrid: the fossil echo of an engine that has never needed to work.
Here, ceramic is no longer a medium but a solidified memory — not clay but residue, not modeled but imploded — and the plastic intervention seems to happen as if under symbolic compression: what was a cylinder becomes a constriction, what was a valve is now a dysfunctional excrescence, the discarded language of engineering.
Time is distorted: the deformation is not so much the result of a sculptural gesture as of an external, blind force, perhaps nuclear or conceptually entropic. The object speaks with the broken language of extinct machines, but it does so without any nostalgia. It is as if reality had tried to recompose itself after the catastrophe, failing with grotesque grace.
We sense an aesthetic of compressed ruin, almost a fossilized brutality that tells neither past nor future, but a perpetually recursive present: an eternal moment in which design implodes and becomes plastic trauma. The artist's gesture, apparently shapeless, is in reality a syntax of collapses: each fold tells of a necessary error, each distortion is a denied utopia.
The object does not expose itself, but imposes itself as a relic of an unrelated time — a carburetor that does not load, a symbol that does not symbolize, a fetish that has stopped believing in its own usefulness. It is post-industrial only because it was never pre-industrial. It is the simulacrum of the simulacrum, and in this short circuit lies its sculptural power.
Crazy stuff!

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