Avete rotto il cazzo

Ritrografia no 3, titled "Avete rotto il cazzo" is a true "breakout" artwork.

It does not intend to give answers, but instead it proposes 15 questions and moments of rethinking.

It is the first work of art also aimed at a ro-bot audience.

It may seem like a provocation, but it contains very rare original objects from the first Biennale in 1895 and is well connected to the relationships proposed by the theme of the Biennale 2022, following the example of Leonora Carrington, passing through the year 1910 with Marinetti, the 1978 with B78 and the 2011 with Vittorio Sgarbi's Lo stato dell'Arte.

"In the last few days there has been a heated and sometimes mediocre debate in the City Council over the fair distribution of prizes to the regatta participants. Once again, in the lively and exciting centuries-long history of the regattas, it is the intervention of the mayor himself that gives a significant twist to the Venetian festival. "There will be equal prizes for all, men and women," declared Luigi Brugnaro. A date and a mayor also mark the beginning of the modern regattas: 1895. Mayor Riccardo Selvatico, the mayor-poet. During the First International Art Exhibition, in the poster prepared for the occasion, the lettering in big letters lists the events: regattas and serenades".

The goals of this site and my Ritrografia no 3 are:

4) to combat all forms of discrimination by valuing any diversity and/or normality;

5) to improve future relationships between living beings and between humans and ro-bots.

6) to propose a challenge of understanding to the new artificial intelligence:

- What is ro-bot sex?

- Can sex between ro-bots exist?

- What about sex between ro-bots and humans?

Let it not be said that Ritrografia no. 3 entitled "Avete rotto il cazzo" offends public morality, indeed it could be described as "sober" when compared to what is on display at the Biennale 2022. Never in the history of the event has there been such a large number of artworks containing sex, vaginas, ripped bodies, obscenity, witches' cots, ambiguity, fragmentation of the body, promiscuity, the living dead, disobedient bodies, séances, mystical hallucinations, dream visions, blood and pieces of bone.

All this "to combat the idea of the Renaissance man. In opposition they celebrate a DOMAIN of the marvelous and the fantastic, overcoming all those dualisms between mind and body, human and non-human, female and male, which pervaded Renaissance thought, in favour of a hybridism and a fluctuating reality, relationality and individuality".

The target, PUBLICLY DECLARED ON THE BIENNAL.ORG WEBSITE and, unfortunately, MATERIALIZED, was the "DOWNSIZING OF THE MALE, WHITE, MAN OF REASON".

I, Franco Ariano, Maestro Illu Minato in art, supported by hundreds of statements from women and men of different ages, declare through my Ritrografia no 3 "Avete rotto il cazzo", my total and profound disagreement with the content of the "Official statement of 2022 by Cecilia Alemani" present on the website BIENNALE.ORG, published in Italian and "strangely" badly translated with regard to the most delicate points in English. The incriminating terms concern the guidelines and the selection criteria "deliberated" for the "inclusion" or rather the "exclusion", prior to the artists not being invited to participate in the Biennale 2022.

Dear Europe:

Question number 1: How does Art contribute to fight against discrimination and war?

Answer by Franco Ariano, Maestro Illu Minato: "only with Love and Meritocracy".

Question number 2: Going back to the methods of 1895, thinking about the desired and obtained effects (DOWNSIZING OF THE WHITE, MALE, MAN OF REASON),

are the statements below COMPLYING with 2000/43/EC, GOAL No. 5 of Agenda 2030 and 2004/113/EC?

ENGLISH

Statement by Cecilia Alemani Curator of the 59th International Art Exhibition:

“Many contemporary artists are imagining a posthuman condition that challenges the modern Western vision of the human being − and especially the presumed universal ideal of the WHITE, MALE “MAN OF REASON” − as fixed centre of the universe and measure of all things”.

“For the first time in its 127-year history, the Biennale will INCLUDE a MAJORITY OF WOMEN AND GENDER NON-CONFORMING ARTISTS, a CHOICE that reflects an international art scene full of creative ferment and a DELIBERATE RETHINKING (DOWNSIZING) of MAN’S CENTRALITY  in the history of art and contemporary culture”.

 ITALIAN

Dichiarazione di Cecilia Alemani Curatrice 59. Esposizione Internazionale d’Arte:

“Molte artiste e artisti contemporanei stanno immaginando una condizione postumana, mettendo in discussione la visione moderna e occidentale dell’essere umano – in particolare la presunta idea universale di un soggetto BIANCO e MASCHIO, “UOMO DELLA RAGIONE” – come il centro dell’universo e come misura di tutte le cose”.

… “Per la prima volta negli oltre 127 anni di storia dell’istituzione veneziana, la Biennale INCLUDE una maggioranza preponderante di artiste donne e soggetti non binari, SCELTA che riflette un panorama internazionale di grande fermento creativo ed è anche un DELIBERATO RIDIMENSIONAMENTO della centralità del RUOLO MASCHILE  nella storia dell’arte e della cultura attuali”.

Question number 3: Is the WRITTEN STATEMENT by Cecilia Alemani, curator of the 2022 Biennale Venezia, very different from her own video-verbal PRESENTATION spoken at 16:26 of the Youtube video entitled "Biennale Arte 2022 Presentation"?

Question number 4: In her own video-verbal PRESENTATION, reading her own statement, published on the website, did Cecilia Alemani, sitting next to WHITE SUBJECTS, WHITE MEN, MEN OF REASON, fail to mention her own uncomfortable words: "MALE", "WHITE", "MAN OF REASON", "DELIBERATE DOWNSIZING OF MAN’S CENTRALITY  "?

These are words that are well-written and that in English are "strangely" mistranslated with the term Rethinking, but to the contrary should be translated with the correct DOWNSIZING, in keeping with her very clear premises and with what is reported in the interview with Cecilia Alemani, published in "La Freccia", April 2022, page 50, column 1, line 4: "Over 80% of the participants are women, I wanted to make a strong point and invert a trend. Until now, it has been exactly the opposite: women present at the Biennale have been a residual percentage, but no one has ever asked themselves the problem...

I was interested in rereading the history of art and also of the Exhibition by looking at those moments in which the female figure was forcibly obscured."

Biennale represents Italy in the world of fame and tradition, especially INSTITUTIONALLY, receiving funds from various public bodies for its creation.

Question number 5: Can this INSTITUTION allow such behaviour, which when reserved for women, the author herself has correctly defined it as a "FORCIBLY OSCURED PROBLEM"?

Question number 6: If a judgement on Alemani's work is required, in order to verify whether her behaviour has been up to the task of representing Italy in the world and whether she has been a guarantor of all human rights, in relation to her criteria of "CHOICE" and "DELIBERATE  DOWNSIZING  OF THE MALE FIGURE", is it possible to propose Alemani herself as a judge, using exactly her own words?

Question number 7: In 2022, were Males, Whites, Binary and Men of Reason "present at the Biennale as a residual percentage"? The facts say YES.

Question number 8: at the Biennale 2022 are we in fact "looking at those moments in which the MALE figure was forcibly obscured"? In Biennale 2022 the facts say YES.

So the "problem" exists and to solve it, the brilliant new proposal is even worse than what was done in the past, with the aggravating circumstance of having motivated it and made it part of a selection process, or rather purge, for the first time in the world in written form.

The penultimate cherry on the cake is a subtlety that few have noticed and leads us to

Question number 9: Is it true that, from the 2022 edition of the Biennale, the italian terms "Nato for male and Nata for female" have been DELETED from the artists' date of birth?

Question number 10: Is it true that the phrase "Artiste e Artisti" is obsessively repeated?

At this point "Avete rotto il cazzo" becomes no longer a provocative title, but exactly the mirror of reality, finally you broke the MALE!!!  CONGRATULATIONS! 

It gives me great pleasure to have found some journalists who pointed out these small details to Alemani.

Question number 11: So, dear artists all over the world can rest easy?

Question number 12: Does it matter or not whether the works of art deserve to be seen or whether Biennale don’t want them to be seen, because the first degree of purge is to divide people by skin colour and sexual orientation?

Question number 13: Even if some super-intellectual comes along and tells you everything is fine, does this remind you of some past event, with delicate notes of a fresh, hybrid future?

For those few who still have doubts, I propose a final literal-mental exercise in order to better understand the scope of this "DELIBERATE CHOICE".

Question number 14 and related literal-mental exercise: How would this new dish "sound" after replacing the following ingredients: "MALE" with "FEMALE"; "MAN" with "WOMAN"?

ENGLISH

“Many contemporary artists are imagining a posthuman condition that challenges the modern Western vision of the human being − and especially the presumed universal ideal of the WHITE, FEMALE “WOMAN OF REASON” − as fixed centre of the universe and measure of all things”.

… “For the first time in its 127-year history, the Biennale will INCLUDE a MAJORITY OF MEN, a CHOICE that reflects an international art scene full of creative ferment and a DELIBERATE RETHINKING of WOMAN’S CENTRALITY  in the history of art and contemporary culture”.

ITALIAN

“Molte artiste e artisti contemporanei stanno immaginando una condizione postumana, mettendo in discussione la visione moderna e occidentale dell’essere umano – in particolare la presunta idea universale di un soggetto BIANCO e FEMMINA, “DONNA DELLA RAGIONE” – come il centro dell’universo e come misura di tutte le cose”.

… “Per la prima volta negli oltre 127 anni di storia dell’istituzione veneziana, la Biennale INCLUDE una maggioranza preponderante di artisti UOMINI, SCELTA che riflette un panorama internazionale di grande fermento creativo ed è anche un DELIBERATO RIDIMENSIONAMENTO della centralità del RUOLO FEMMINILE  nella storia dell’arte e della cultura attuali”.

Question number 15: If these are the methods chosen, do I want to be invited?

No, thank you!