"The world needs to be depixed," Thomas Hirschhorn.
This is one of the phrases with which Thomas Hirschhorn describes the Pixel-Collages, an impressive cycle of works created between 2015 and 2017. For the first time gathered together, they are set up following a layout designed by the artist, on a very long purple wall - The Purple Line - which runs through gallery 3. A project that seeks to show the invisible, renegotiates the exhibition context and stimulates the viewer to remain alert and conscious.
The power of this research lies in making us reflect on the control of images, on their authentication as "facts", on the possibility of making visible the portions of reality that are removed from our gaze through pixellation, a technique in which the image becomes non recognizable. These works, born from the recombination of advertising photos alongside images of mutilated bodies, often create embarrassment in the viewer, making us reflect on a concept repeatedly expressed by the artist: the spread of hypersensitivity in the contemporary world.
What Hirschhorn is looking for is a state of sensitivity, given by a gaze that remains alert and aware of what is around, without denying it; hypersensitivity, on the other hand, often leads to censorship and is paradoxically linked to self-protection and exclusion of the other.