Luca Staccioli
Donner à voir
2018
Exhibition at Fondazione Pini, Milan

Donner à voir, exhibition view

Donner à voir: G. Staccioli, faldone
2018
65x40 cm
pastel on paper

Donner à voir #38
2018
27x40 cm
inkjet print on Hahnemühle Baryta paper

Donner à voir: G. Staccioli, certificato di scomparsa
2018
80x55 cm
pastel on paper

Donner à voir, exhibition view


Donner à voir: compleanno 7°
2018
25x50x70 cm
play-doh, candles, reed, television screen, cake tray


Donner à voir: giocattolo #1
2018
30x25x20cm
tubes, stamps holder, play-doh, plastic glass, epoxy resin, electric engine, brass, various materials

Donner à voir, exhibition view






Donner à voir: studio per un figlio #1
2018
65x65x80 cm
wool, waterproof tablecloth, razors, play-doh, wire, strings, sewing thread, plastic bags, aluminium, steel, television screen, apron, buttons, newspaper, cake tin, various materials

Donner à voir: robot, giocattolo # 2
2018
20x5x20 cm each
polyurethane resin

Donner à voir, exhibition view

Donner à voir #12
2018
50x70 cm
inkjet print on Hahnemühle Baryta paper

Donner à voir: G. Staccioli, libretto individuale, ministero della guerra
2018
46x32 cm
pastel on paper

Donner à voir, exhibition view

Donner à voir #0
2018
40x60 cm
inkjet print on Hahnemühle Baryta paper

Donner à voir: studio per una fotografia #1
2018
32x46 cm
marker on paper, plastic bags, wool, aluminium, wooden frame, glass

Donner à voir #25
2018
80x60 cm
inkjet print on Hahnemühle Baryta paper

Donner à voir #23
2018
60x80 cm
inkjet print on Hahnemühle Baryta paper

Donner à voir #5
2018
35x48 cm
inkjet print on Hahnemühle Baryta paper
Donner à voir is an exhibition, conceived as a medium: an artwork composed by various fragmented elements. It starts from the figure of G. Staccioli.
In the forties, G. Staccioli was in prison due to an unknown crime. He commutated his sentence joining the French Foreign Legion up, in the First Indochina War (1946-1954). No one knows anything about him. It remains: a series of documents secretly conserved in the archive of the foreign Legion in Aubagne; the surname (Staccioli) which Luca Staccioli, after his father, inherited because of some bureaucratic quibbles without being relatives; a photographic roll of film.
The photographic film is erased by the time and the erosion of the sea. The contents are completely unrecognisable. Thus, the disappeared images become a new space to re-narrate and to question the construction dynamics of the identity made by wars, macro-narratives, violence and a patriarchal alienation of the autonomous subjectivities.