Page 32 - FANTASTIC COSMOS SHOW CATALOGUE

From the sub-world comes also Marco
Ceroni’s alligator: a monstrous tail bu-
ilt from the memory of a torn tire on
the road. In technical terms, the inner
part of a tire - the part that absorbs
shocks and loads - is called the “car-
cass”. And what is the tail we see befo-
re our eyes if not the carcass, the rest,
of an animal that cannot be shown in
its integrity?

The alligator of urban legends is
evoked by the title, Lacoste: it re-e-
merges from the background, shows
its repellent fascination. In Lacoste
we encounter the Lacanian idea of
pleasure, as something connected to
animality, to the destruction and con-
sumption of the object enjoyed. In
short, pleasure, true driving force of
the consumer society alluded to in the
title, appears in the tail of the alliga-
tor-cover.
A half-being, whose totality we can
only imagine, that allows us to over-
turn the idea of “good and evil”, of
“beautiful and ugly”, of reality and
fantasy.

With these artists we are in front of an
idea of the fantastic that is subjected
to its opposite: the concrete.
And if in reality matter and anti-mat-
ter destroy each other (generating
energy), in Fantastic Cosmos concrete
and fantasy produce a research that
that exceeds the definitions of par-
ticipatory art, committed, social, ra-
dical art to move in a still uncertain
ground, but heralding new creative
energies, a “concrete contradiction”
as Lefebvre would have loved to call
it.

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