Luca Freschi - Jesus’ Blood Never Failed Me Yet - Objet trouvé in book form by Luca Freschi art publications

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prologue

Here-Elsewhere. installation

Jesusâ&#x20AC;&#x2122; Blood Never Failed Me Yet Santuario della Visitazione Portico di Romagna (Fc) Italy

15 June 2013

44째2 0 N 11째47 0 E

Here-Elsewhere. Curated by Matteo Lucca

Here-Elsewhere is an itinerary of sculpture and installations that crosses Portico di Romagna, and interacts with the places and fascination of the old town. Everyday frequented paths turn into journeys of evocation, urban and landscape itineraries bring us to the usual places, in which the art, able to unveil a magic, poetical and evocative elsewhere, becomes a signal amplifying and unveiling an alternative, which, paradoxically, through its charm allows these places to be rediscovered. It fires them up. Its “stay”, opens a dialogue that nourishes and reveals both dimensions. Here and elsewhere are meant to be a condition of being: here is being in the present, in the places of everyday routines. Elsewhere is the way out of that condition, it is the world to which the art brings you. Here-elsewhere is the dynamic condition of non dualism, between the place and the art.

... “Jesus’ blood never failed me yet” is a song by a London tramp which inspired a piece by Garvin Bryars. The lyrics go on: “there’s one thing I know, ‘cause He loves me so”. The shelter is in the heart, in the spirit of a man who has nothing anymore and finds his home in faith. Luca Freschi celebrates and exalts it, with a kitsch, extravagant, baroque splendour. A small church called “Oratorio delle Visitazioni” is decorated and prepared for a celebration. It is livened up by a subtle, catchy fanaticism. It highlights and stresses the popular dynamics, uses and habits through excess, but we are fooled by the appearance: a common loneliness in disguise dwells underneath that splendour. Inside, the chapel contains the work itself: a collection of objects filled with meaning that tell, as a journal of memories, the sad story of a forgotten existence. Yet, as stated by Gavin Bryars, that song remains “eloquent even though little proof of his spirit and optimism”. 10

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Jesus'Jesus' blood blood Jesus' nevernever blood failedfailed me nev Never Never failed failed Never me yetme failed yet me Never Never failed failed Never me yetme failed yet me One thing One thing I One know Ithing know I kno For he For loves he For loves me so heme loves so me

Jesus'Jesus' blood blood Jesus' nevernever blood failedfailed me nev ye Never Never failed failed Never me yetme failed yet me Never Never failed failed Never me yetme failed yet me There's There's one There's thing one thing I know oneI know thin Loves Loves me some Loves so me so

et ver d me failed yet Jesus'me blood yet never failed m yet Never failed me yet et ver d me failed yet Jesus'me blood yet never failed m ng w I know There's one thing I know so For he loves me so

ver d me failed Jesus'me blood never failed m yet Never failed me yet yet Never failed me yet ow One thing I know so For he loves me so

et ver d me failed yet Jesus'me blood yet never failed m yet Never failed me yet yet Never failed me yet ng w I know There's one thing I know Loves me so

ver d me failed Jesus'me blood never failed m yet Never failed me yet yet Never failed me yet ow One thing I know so For he loves me so 17

pre v ious h ist o r y

Jesus’ Blood Never Failed Me Yet object trouvé, glazed polychrome earthenware, wood, voice 2013

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HE INDICATED THE STARS, NOW POINTS OUT, HIMSELF

Therefore, in this installation, his forefinger passes before us with a so slow movement to be almost imperceptible but, at some time, with an energy which creates Matter by reaching the Velocity of Light; it is Luca own flesh and blood own corporal nature, own Physical Presence which constructs and forms, edifies and makes clear “Jesus’ Blood Never Failed Me Yet”. No more with an Ample Action to words the stars with an action of “finger”, symptomatic and obstinate, such as the sight of a gun single bullet charged which would address the barrel only to the Target Luca indicates himself with the Artist Necessity and, sometimes the spectator’s with a precise method (perhaps more technically), whit a remarkable and efficient capability: as an old artist who studies a Landscape within a reference grid, Luca sights the installations within sectors and lines on imagining graph papers whit the capable of whom can display forms, colours, and dimensions so that an “Observing” one (not a passive observer’s) unawares or aware of but obliged to would follow the visual path in the manner, lies and times established a prior by Luca himself where, how and why to address the eyes on some detail in lien of another’s one, and from the last one to not pass to the closet one bat to turn back to the Panoramic General Vision, perhaps by drawing back for some centimetres and then perhaps to identify themselves by “recognizing” a “Picture of Woman”, which because of its monocromaticism becomes it’s “essence”, then Kinswoman or lens of anyone, to fastly or as requested, lazily to ignore, even for one instant a black X. The risk of professing an ordinary psychology or a manuals Symbolic Analysis 20

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is only in the mind and eyes of whom is seeing without paying attention and not in the “phraseological and space arrangement” of the implementation. The answer to this doubt flutters mute in the Space like a liturgical warning in a church echo: look at, pay attention, understand; nothing to be construed, everything is manifest. Solely. Only. Exclusively.

Why?

Because Luca does not show there the disarticulation of the life, of emotions and intelligibility, of meanings and tangibility just by an whit dall estranged whit her “catatonic pose”; because Luca does not show here the existential fragmentariness of the human condition or of a singular human condition but above all Luca twice demonstrates paralogically fragmentary, weaned and unfinished bodies but, to which he gives precise names to imprint an Aleph on their foreheads so to give them awn life. Because here the “Refusal” is inaction’s shown, whit the sharp cleverness of a pilleger, of a fierce hunter searching for a victim by using an involved design from “Tragegogo” (as a Deus ex Machina into a performance designed by L. Ronconi), apparently very far from his 22

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clay (the “memento homo quia lutum es est in lutum reverteris” seems almost the dismay which is pervading Luca). A technological “Ermetico” sensor of presence which in random registrations kicks out literally banisher a woman who is asking him, whit an Imprisoned Lightness, to open for her a door. “A” woman, then everybody, from the same installation from his “work”, from his acting. In this critical situation, the concentric auto-hypnosis which exhales from “Jesus’ Blood Never Failed Me Yet”, really more a “Monastic Concentration” or a “Dynamic Intellectual” stasis, does not consent incursions out of place by whom would not enter very carefully and almost in “apnea”: the sweetness of two beloved lovers who refresh each other as at cest of warriors enlighted by some their hearts, significantly bicolored, which perhaps become more thistles and prickles to which to hang decolorizing memories.

Besides it Why?

Because the “Confidence”, the trust of wham has faith and hope by knowing that he is facing own spirituality to the accomplishment is not sounded by Luca whit a superlative St. Sebastian: target marck more of veno mars asps than diamond darts; a St. Sebastian wounded to death but not irresolute or confused, only absorbed in own pain, ready to stand and support it without 24

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being recompensed for a paradise but only for the implementation of an own “creative rest”. Because the scepticism, the mistrust are here a symbolic forgotten sentiment o purposely, left whit lack of interest or nonchalance on the shelf of the bathroom because the delicious act of looking at themselves in a mirror is not realized whit a Narciso, quite the opposite than ravished by himself (at the most add on curious, nearly amused), but turns the wholeness of this “Developing Universe” into chips, fragments statically pulsating still particles but restless, crumbs which follow and run after geometries, asymmetrically articulated, which pursue the “ontological deconstruction”, where Luca, implacable, accomplishes an epiphany still vergin of a primary, terminology, her structure: a new lexicon to be defined as to the grammars but not as to the orthography. Not as to the orthography because Luca seems to search for the New Materials more then a new “Odos” (Way) or a new “Methodos” (Metod), as the clay (althorn conjugated whit an its singular lovableness made of fragile lively density. As Luca would feel the need of something which may surpary it, which would became a terracotta, changed clay, further thing. The why, the why of these whys are let cherished, not even perceived Luca confirms only that he will reveal later whit his next works, he promises it from beneath an electrical cable, he swords it with the Washington of the deep green dollars spent abroad, he whispers sincerely to the birds whit which he discovered to be capable to talk and hear few years ago Luca educates us to believe him. 26

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To believe in his “Essential Knowledge”; the knowledge to be not afraid to bring in to dispute and always to stake himself into and always new play. Real positive, concrete, almost artificial, in any case artistic one. He lets us to understand that he does not fear the wounds censed by Wood, Glass or Steel (it does not matter) which trust and drive themselves into the hands while he is at work; perhaps he will raise up the pain limit and will diluite, make it soluble and re-soluble, once again sublime. Possibly and solely, as every human being, at the end, hoping only to be understand and wishing and showing but as a gentleman: Jesus’ Blood Never Failed Me Yet…. I am, I exisist, I am Luca… CAF

Are you there? let me in ... 31

come on I need

open up ... give me a chance ... please to talk you ... please

Vitali Lara for Luca Freschi

Texts Matteo Lucca Carlo Andrea Falvella

Have contributed to the realization of the work “Jesus’ Blood Never Failed Me Yet” Fulvio Superga - Arduino Hacked Kate Cartwright - Narrator Audio Recording - Marco Pretolani at Deposito Zero Studios

Objet trouvé in book form Printed in limited edition ≈ 2013