About Me

INTERVIEW
 
GLAUCO DI SACCO
NEW –ARTIST—
 
 
HAVE YOU EVER WISHED TO BE A PAINTER ?
 
I HAVE ALWAYS HAD A FASCINATION FOR COLOUR AND ITS BRUTE FORCE.RARELY HAVE I CONSIDERED PAINTING AS ART IN ITS PURELY FORMAL SENSE OF THE WORLD. SO I ONLY REALLY FELT INCLINED TOWARDS PAINTING WHEN I FIRST DABBLED WITH BRUSHES AND PAINTS(IN MY YOUTH OF COURSE).
 
WHAT’A THE DIFFERENCE BETWEEN YOU AND A FIGURATIVE PAINTER?
 
THE DIFFERENCE LIES IN THE FACT THAT I DON’T DESCRIBE REALIY
AS A BIDIMENSIONAL PROSPECTIVE ILLUSION, BUT WORK DIRECTILY ON ANY BIDIMENSIONAL  SURFACE. THE FIGURATIVE PAINTER DESCRIBES REALITY,I LOOK FOR THE CONSTANTS THAT MAKE UP THE VISION OF HUMAN BEINGS. THESE CONSTANTS CAN BE OF A VARIED KIND: PHYSICAL, PSYCHICAL AND FORMAL.
 
WHAT SORT OF RELATIONSHIP HAVE YOU WITH” POP ART”?
 
MY RELATIONSHIP WITH POP-ART IS  ICHONOGRAPHIC,NOT PSYCHOLOGICAL. POP-ART REPRESENTS AN OPTIMISTIC WORLD AND NOT ONE THAT IS STANDARDIZED BY CONSUERISM, AS IT IS IN REALITY. POP-ART STILL PRESENTS THE PRODUCT IN ITS TRASCENDENTAL AND UNIVERSAL HALO. IT BEAUTIFIES THE  OBJECT AND MAKES IT A SYMBOL. EVERY ARTIST PICKS OUT THE OBJECT WHICH IS MOST CONGENIAL TO HIS WAY OF BEING AND TREATS IT SOMETIMES IN  A FANTASTIC  WAY,SOMETIMES ALMOST  LYRICALLY.I LIKE THE IMAGES CHOSEN BY POP- ARTIST,BUT I DON’T GO ALONG WITH THE FUNDAMENTAL OPTIMISM WITH  WHICH  THEY PRESENT THEM.  ALL YOUNG ARTIST OF MY GENERATION   WERE INSPIRED BY POP-ART.FOR US, THE YOUTHS OF 68  IT WAS A VITAL LYMPH, BUT ONE WHICH FADED OUT AS SOON AS POP- ARTISTS BECAME MUSEUM MONSTERS.
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WHICH ARTIST DO YOU FEEL COMES CLOSEST TO YOU AT PRESENT?
 
I FEEL CLOSER TO MACHINES SUCH AS COMPUTER, MIXERS, VIDEO, COMPUTER GRAPHICS, VIDEOGAMES, PHOTOCOPIERS THAN TO ARTISTS  WITH THEIR HUMAN LIMITATIONS.I’M NOT SIMULATED BY ANY ARTIST IN MY PRESENT WORK. EVEN THE MEMBERS OF THE AVANGUARDE MOVEMENT WHO USE THE ABOVE –MENTIONED MACHINES,USE THEM IN AN ARTISTIC, THEREFORE HUMANISTIC, WAY AND NOT BRUTALLY, THE WAY I WOULD LIKE TO.
 
YOU SEEM COMPLETELY UNINTERESTED IN  WHAT HAS BEEN, WHILE YOU SEEM MORE  INTERESTED IN  WHAT WILL BE.
 
I CONSIDER THE PAST AN ARCHIVE THAT I CAN CONSULT IF I FEEL LIKE IT;I’M LIVING THE PRESENT AND HAVE GREAT HOPES FOR THE FUTURE. THE FUTURE FOR ME MEANS TECNOLOGY AND SCIENCE,NOT ART. A TRUE ART RESEARCHER MUST ALWAYS ANTICIPATE THE TIMES, THEREFORE OVERCOME THE PRESENT AND FORESTALL THE FUTURE.
 
WHEN  DID ART BECOME OF CENTRAL IMPORTANCE TO YOUR LIFE?
 
THE QUESTION   IS BADLY WORDED; YOU MIGHT JUST AS WELL HAVE ASKED ME WHEN I  STARTED BREATHING.
 
WHICH SCHOOLS DID YOU ATTEND, WHERE DID YOU DEVELOP AS AN ARTIST?
 
I ATTEND ART SCHOOLS;ALL ACCORDING  TO THE BOOK LIKE THE PERFECT ARTIST COMPLETE WITH BEARD, BLACK JUMPER  AND PAINT-STAINED BERET; THAT IS THE LICEO ARTISTICO AND BRERA ACADEMY, THE PAINTING DEPARTMENT.
 
WHAT KIND OF UPBRINGING DID YOU HAVE?
 
IT WAS O. K. :A VERY GOOD,SOUND UPBRINGIING.
 
 
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DID YOURMOVE  FROM A PROVINCIAL TOWN TO A METROPOLIS INFLUENCE YOUR WORK?
 
 YES, VERY MUCH SO; INFACT I’D SAY I GAVE UP USING BRUSHES AS SOON AS  I  ARRIVED IN MILAN . THE STIMULI OF A BIG CITY ARE IMMENSE AND OF A VARIED  NATURE ; THEY WERE ALL, I REPEAT, GREAT STIMULI FOR THE WORK OF AN ARTISTIC RESEARCHER. THE PROVINCE IS A SORT OF CULTURAL DEATH IN SO FAR AS STIMULI ARE ABSORBED WHILST IN BIG CITIES THEY HAVE ALREADY BEEN OVERCOME.
 
YOU ONCE SAID THAT YOU HAVE ALWAYS AIMED AT REPRESENTING MODERN SOCIETY BY EVERY POSSIBILE MEANS; WHAT KIND OF ANALYSIS DO YOU USE, WHAT IS YOUR POINT OF WIEW?
 
I TRY TO BE AS OBJECTIVE AND AS IMPERSONAL AS POSSIBLE, TRYING NOT TO BE GLAUCO DI SACCO , BUT A NUMBER THAT MUST UNDERSTAND OTHER NUMBERS AND THE ACTIONS GOVERNING THEM. I AM ALWAYS LOOKING FOR THE STRUCTURAL SOURCES OF THE MODERN SYSTEM : ECONOMY, WORK FORCE, RAW MATERIALS, CAPITAL,MULTINATIONAL COMPANIES. I CONSIDER ART, AND I’M NOT ALONE IN THINKING THIS, AS A SUPERSTRUCTURAL PHENOMENON OF FOLKLORE AND FINANCIAL SPECULATION.  MY POINT OF WIEW, THEREFORE, IS STRUCTURAL: THAT IS I WANT TO UNDERSTAND THE ORIGINS OF MODERN SOCIETY.
 
YOU OFTEN SPEAK OF A FLATTENING OUT OF IDEALS;WHAT KIND OF CURE WOULD YOU SUGGEST?
 
I DON’T SUGGEST ANY CURE  BECAUSE WE ARE ONLY AT THE BEGINNING OF A GREAT CHANGE  WHEREBY WE WILL REALLY DISCOVER WHAT IT MEANS TO BE NUMBERS. TO SPEAK OF IDEALS MEANS TO SPEAK OF AN OLD WORLD. AT SOME STAGE IN THE FUTURE ALL HUMAN MINDS WILL BE CLONED AT WILL, AND WE WILL BE  ABLE TO ARTIFICIALLY CREATE THE IDEAL WHICH  SUITS US BEST OR  WHICH BEST SATISFIES  OUR MORALISTIC TASTES. GONE IS THE AGE OF TRADIZIONAL IDEALS, NOW BEGINS THE AGE OF TECHNOLOGY. THERE WILL THEN BE OTHER AIMS PHYSICAL AND PSYCHIC QUITE DIFFERENT TO THOSE WE USUALLY PERCEIVE.
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YOUR WORKS ARE LIKE A GREAT INVENTORY OF OBJECTS, EVEN HUMAN BEINGS BECOME OBJETS ALONGSIDE MANY OTHERS;IS THERE A MECHANISM OF IDENTIFICATION IN ALL THIS OR WHAT?
 
IN MY OPINION THE MOST IMPORTANT REVOLUTIONARY AGE BEGAN WITH THE CONVEYORBELT. THAT IS  WHEN MAN COULD BUILD AND MASS-PRODUCE HUNDREDS UPON THOUSANDS OF OBJECTS IN A DAY. THEREFORE WE ARE ALL INUNDATED BY OBJECTS, AND AT THE SAME TIME, IMMERSED IN THEM .WITH  PRESENT TECNOLOGY WE CAN ‘T AS YET CREATE HUNDREDS AND HUNDREDS OF HUMAN BEINGS AT WILL; IN THE MODERN INDUSTRIALIZED SOCIETY MEN AND OBJECTS ARE ALIKE,THERE’S  NO GREAT DIFFERENCE. MAN FEEDS  ON OBJECTS AND SO LOGICALLY HIMSELF BECOMES AN OBJECT.THE MAN-OBJECT MECHANISM OF IDENTIFICATION IS PUT INTO MOTION AS SOON AS I SEE HUMAN BEINGS AND PHYSICAL OBJECTS.
 
RELIGION IS A RECURRING THEME IN YOUR WORKS. WHAT DOES IT SIGNIFY, NOW DO YOU VALUE IT?
 
I  USE THE RECURRING THEME OF RELIGION BECAUSE IT IS ONE OF THE PRINCIPAL CONSTANTS OF THE HUMAN SOUL. LOVE-NATURE-RELIGION ARE THE MOST DIE-HARD CONSTANTS,THEY’RE VERY STRONG.SO FOR ME IT IS ONE OF THE MAIN CONSTANTS IN THE WORLD
 
HOW DO YOUR WORKS GROW IN YOUR INNER SELF,DO YOU SEE THEM BEFORE BEGINNING TO SELECT THE VARIOUS PIECES YOU USE OR DO THEY GROW IN THE PROCESS?
 
MY WORKS ARE ALWAYS BORN OF MY OBSESSION  WITH  MASS CIVILIZATION. I AM  ALIENATED BY PHYSICAL COLLECTIVITY. I FEEL INUNDATED BY OBJECTS, THOUGHTS,OBJECTS-IDEAS AND HUMAN BEINGS. MY WORKS  WANT TO WITNESS THE UTMOST VIOLENCE OF AN OBSESSIVE AND ALIENATING  REPETITIVENESS.THEY ARE ALL WALLS FOR VIOLENCE . WALLS FOR SUICIDE  IS THE  GREATEST ACT OF VIOLENCE THAT ONE CAN COMMIT AGAINST ONESELF. THESE PRODUCTS  ARE  NOT  BORN OF EMOTION; I KEEP THEM IN MY MIND FOR MONTHS ON END. THE ESECUTION OF THEM THEREFORE, MUST BE AS CLEAR, AS LOGICAL AND AS RATIONAL AS POSSIBLE.
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WHICH METHOD DO YOU ADOPT IN YOUR WORK?
 
IT IS A METHOD OF MONTAGE: MADE UP OF IMAGES AND WORDS. I SELECT MY MATERIAL FROM MAGAZINES, PHOTO LITTERING,WHICH I CONSIDER SIGNIFICANT OF OUR AGE.I CUT THEM OUT CAREFULLY,CLASSIFY THEM ACCORDING TO THE SUBJECT,HIBERNATING THEM IN WONDERFUL PLASTIC ENVELOPES. THEREFORE I  HAVE A GREAT VARIETY OF TOPICS I CAN USE. RANGING FROM  PRESERVATIVES TO BREAST-FEEDING YOUNG MOTHERS TO THE CHURCH, ETC. I PREPARE A SURFACE ONTO WHICH I WILL ARRANGE (SO AS  TO MAKE A PROTOTYPE) ALL THE COMPONENT ELEMENTS CUT OUT OF MAGAZINE WHICH SERVE TO MAKE MY IDEA ON THAT GIVEN TOPIC CONCRETE. AFTERWARDS, HAVING MADE AND ARRANGED THE PROTOTYPE,I DIVIDE IT INTO FOUR PARTS, WHICH I PHOTOCOPY, AND WHICH I REARRANGE, AFTER MAKING BEATIFUL PHOTOCOPIES ON A RIGID FRAME. I ALSO MAKE SERIGRAPHICS USING THE SAME PROCEDURE. I CUT, ARRANGE AND PRINT PHOTOCOPIES,I PHOTOMECHANIZE THEM AND PRINT THEM ONTO A SERIGRAPHIC FRAME, AND THEN PRINT THE COLOUR SERIGRAPHY. THE RESULT IS STIMULATING BECAUSE IT COMES OUT OF AN ABSOLUTELY NEW PRODUCT MADE UP OF SNIPPETS, MASS-MEDIA’S VISUAL WASTE PAPERS MAGAZINES ETC.
 
TO WHAT EXTENT DOES YOUR  WORK   RELY  ON IMPROVISATION AND TO WHAT EXTENT DOES IT RELY ON PLANNING?
 
IN MY WORK LITTLE IS LEFT TO IMPROVISATION;I TRY AND PLAN EVERYTHING. THERE IS IMPROVISATION IN THE INITIAL EMOTIONAL STAGE BUT IT SOON TURNS INTO PLANNED WORK.
 
IN ORDER TO CREATE YOUR WORKS YOU USE MACHINES :WHATIS YOUR INVOLVEMENT WITH PHOTOCOPY MACHINES AND COMPUTERS, WHAT DO YOU KNOW ABOUT THEM?                 
                                                                                                                                                                                                                                                    
THE PRINTING MACHINE IS ABSOLUTELY NECESSARY IN MY WORK BECAUSE THE RESULT DEPENDS ON THE QUALITY OF A PHOTOCOPY.IT WOULD BE IDEAL IF I COULD HAVE A MACHINE THAT I COULD EXPLOIT FOR PURELY GRAPHIC EFFECTS WITHOUT HAVING TO RELY ON COMMERCIAL PHOTOCOPIERS. MY INVOLVEMENT WITH COMPUTERS IS STILL A BIT DIFFICULT,BUT I HOPE THAT SOME TIME
IN THE FUTURE I WILL BE ABLE TO PROGRAMME MY WORK IN THREE  PHASES WITH THE USE OF THREE RESPECTIVE MACHINES:         5
 
 
COLOUR SCREEN, COLOUR TELECAMERA AND COLOUR COMPUTER GRAPHICS WITH A LINK BETWEEN THE GRAPHIC COMPUTER AND THE TELECAMERA.