R.O.M., a new artistic and aesthetic reflection out of the common noise of daily life
by 
R.O.M. – Ready Out Made is the ultimate project that sees the artist engaged in an operation of subversion of the exhibition and creative dynamics of contemporary art.
“The unexpected surprises us. The fact is that we fitted too confidently in our theories and ideas, and that these have no reception structure for the new.”
But the new one keeps coming up. We can never predict how it will show up, but we must wait for its coming, that is, expect the unexpected. And, once the unexpected comes, we should be able to review our theories and ideas rather than trying to force the new into the theory, unable to truly accept it.
Starting from that premise, we can prepare ourselves to face the long journey towards the deconstruction of our identity. Western culture is living one of the most painful History pages of all time: the Post-modern or as I generally define it, the era of the Re-post. The Re-post era will be remembered as the time of loss of creativity and here is the race to reinterpret what has already been done, said or heard.
Re-ady made, Re-ady Out Made (R.O.M) are the keywords to keep in mind during this process of deconstructing false truths.
An idea or a theory should neither be purely exploited nor impose its verdicts in an authoritarian way; it should be domesticated and relativized. And it is from this relativism that comes from creative hyper-uranium, the R.O.M. project – Ready out made, it is an instance of possibility, in a contemporary world contaminated by intellectual corruption.
There was a moment in the history of art of the last century when we rolled the eternal and the immortal for fear of the unexpected. We are in 1917 and Marcel Duchamp, clearing all knowledge with difficulty constructed by men, decided to censor that dictatorial system of deceptions capable of deciding the life and death of human nature. By brutally burying the sensitivity of being and marrying a tower of Babel whose inhabitants, toasting and eating at the court of the assassins of contemporary artistic evolution.
Marcel Duchamp knew it and the very act of challenging such a system opened, with great violence, the door between immortals and ordinary people. The idea was this: What if I bend you all to my will, forcing you to acknowledge a work of art that is in fact the object in which you urinate? In the long run one might venture to say that “our piss is our art”.
This is the revolution of the ready-made, a kind of cooked and eaten that goes beyond the curatorial baronial system that forces us to sit at the table of the greats of knowledge, staging the most barbaric of the parts. On the one hand the curators, on the other the gallery owners, then certainly at the head of the table the buyers with their concubines: The artists. Those from good families. Those who behave well and who wear heels to openings.
So the question that someone has asked is this: what if we take the matter out? What if we married the unexpected and made the theories of our fathers and mothers the gospel of our actions? What if I put a label on a light pole and decide that street lamp’s light needs to become the object of contemplation because, simply, I decided it? If Caravaggio forced many generations to see the Virgin in the face of a prostitute, we can see God in the light of a street lamp.
And it is this consideration at the basis of Nico Tineo‘s project. The object remains in its “public” dimension, there is no need for anyone’s intercession, forcing us to forget for a moment our role in society, simply returning to humans, we are forced to look reality in the face through any object. Not bad right? Of course, it is not always pleasant to discover who we are in front of a decontextualized object. We might even find out ourselves.
But what Nico does is ask us to abandon ourselves to the impetus of passion and accept, of course, what comes our way by breaking down the ideal aesthetic criterion of art and embracing the possibility of a new look. Lenin said that “the facts” are stubborn. The R.O.M project underlines the felt need to drag the pompous object deity out of the baronial walls of the artistic hierarchy, putting us in front of a reality, ours.
The main objective of the R.O.M project is to reorganize the exhibition space starting from the reflection on the Duchamp’s ready-made, bringing the concept of decontextualization from inside to outside, ensuring a product “Ready” for contemplative use. Aiming at the deconstruction of artistic deity, reinterpreting and restoring them to their own nature, bringing to attention the importance that lies not so much in materiality as in the contemplative use we make of it.
Thereby each object becomes a possibility of daily reflection which, acting as a source of inspiration, pushes those who create to a new vision of reality, built according to new exhibition ideals. R.O.M tries to modify the very nature of the gaze on the world and art, placing itself in contrast with the academic interpretation of artistic feeling.
Art does not need to be civilized by anyone, what needs to be done is to free it from the state of daily oppression that today’s baronial system tries to dominate. Nico Tineo’s intuition lies in the desire to return the private to the public, democratizing the very enjoyment of the contemplative artistic gaze.
R.O.M is around us, just be careful where you look!
The artistic modeling intervention takes place through the application of a plate next to any object that bears a title decontextualized with respect to the vision of the object itself. And this is how a bar Umbrella is dressed in Renaissance virtues, recalling the wisely modeled drapery of a work by Andrea Mantegna. The great criticism addressed to the entrepreneurial art system, aims at the deconstruction of a certain type of presenting art. Too often the privatization of the sensible human has ousted communities by monetary law.
This display system has fueled sensitive class divisions over the centuries: those who recognize art and sit in the fictitious Olympus of knowledge and those who could not enjoy the beauty reinterpreted by the human datum.
R.O.M frees the exhibition system of the relics of nothingness, revitalizing and moving the consciousness of love in all those who accept to embrace a new gaze on the world.
And if it is true that it frightens to deconstruct what appears to be suitable for our way of life, to free ourselves from visual imposition, opening the door to the unexpected becomes a moral and ethical duty!