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Chapter III
“The Archaic future”


Abet Laminati, Fonderia Artistica Battaglia
Serpentino e Graniti, Neonlauro,

Project curated by:
Annalisa Rosso

Ph credits:
Federico Villa

Human code, 2019
90 x 45 x H190cm | Engraved serpentine stone
The algorithm for the extraction of the ECG signal written in C ++ language.

HUMAN CODE exhibition
Courtyard of SIAM, permanent installation

Digital Venus, 2019
9 x 7,5 x H17,5cm | Black earth
Digitalisation of the Venus of Lespugue, the Paleolithic goddess of fertility.

Detail of Digital Venus, 2019
The venus was reconstructed in 3D and then printed through a six-axis robotic arm.

Idol of domestication, 2019
6 x 6 x H18cm | Casted bronze and black onyx
The cob doesn't exist in nature but derives from the domestication of teosinth in the neolithic.

Archaic future, 2019
50 x 10cm (set of five) | Lost wax casted bronze
Series of flints carved in wax and casted in bronze. The first tools of the homo species.

Detail of Archaic future, 2019
The flints are carved in wax by Roberto Sironi

Disappearing, 2019
12 x 20 x H37cm | Lost wax casted aluminium
The disappearance of bees due to the use of pesticides in agriculture and the reduction of biodiversity in nature.

The invention of fire, 2019
45 x 45 x 30cm (installation) | Wax
Fire control as the first breakthrough developed by man 400.000 years ago.

Broken myth, 2019
90 x 40 x P8cm | Gypsum and gold leaf 24 carat.
The snake as a symbol of the interrupted mythical relationship between animals and humans.

Detail of Broken myth, 2019
The Gipsoteca where the bas-relief is handmade

Untitled, 2019
32 x 7 x 5cm | Alabaster
The origin of man and his possible end as a Homo Sapiens specie.

Detail of Untitled, 2019

Traces, 2019
26 x 32cm each | Electroformed copper
A series of stencils used in the creation of circuits in the electronic age.

Rutor glacier, 2019
120 x 120cm | Neon
The volumetric variations in millions of cubic meters of the Rutor glacier in the last 150 years

HUMAN CODE exhibition
Basement of SIAM, MDW 2019

Human Code represents a synthesis of the relationship between human-nature-technology investigated through a time span that begins with the appearance of the humans on earth and reaches the most recent contemporary era.
Through this space-time journey, the topics addressed range from the first discoveries and technological productions – such as the invention of fire or the production of chipped flints (Archaic Future) – to the use of data as a tool for understanding the health status of the planet in reference to contemporary climate changes.
The work Idol of domestication – a corncob cast in bronze – symbolizes the technological process of domestication of food begun in the Neolithic and still in progress. The cob derives from teosinth, the wild ancestor of maize characterized by a small number of grains. It was selected and crossed by Homo Sapiens over the millennia with the aim of creating a richer fruit that satisfied human food needs.

The millennial relationship between human and nature is deepened through two works, Disappearing and Broken Myth, which highlights the complex relation between human and animal. Broken Myth examines the question from the anthropological point of view, representing the fracture in the mythical relationship, created as a consequence of the scientific revolution of the sixteenth and seventeenth centuries when humans began to study the animal species – which progressively lost their symbolic apparatus. The snake, which was considered as a supernatural being and a fundamental part of the cosmology by different cultures and religions, became one of the species to be studied through the scientific method.
Disappearing speculates on the theme of the disappearance of bees, a symbol of the fast reduction of natural species as a result of climate changes, the progressive reduction of biodiversity in nature and the use of pesticides in agriculture. The piece is made in cast aluminum where a polystyrene base is merged with wild honeycomb found in nature, which dissolves as if it’s disappearing.

Still referring to contemporary themes, the neon-opera Rutor Glacier represents the unequivocal and implacable demonstration of the reduction of glaciers in the last century. The series of numbers shows the exponential volumetric variation in millions of cubic meters of the Rutor glacier (Valle D’Aosta, Italy) measured in the first instance at the end of the first small glaciation (in the mid-nineteenth century) and last one in 2004 during the last glaciological campaign.
Rutor Glacier is also part of a triptych of works – together with Traces and Human Code – that explores the theme of language. Traces is a set of four stencils used the electronics: a series of codes engraved on copper that allow us to weld the components on the electronic boards that we use every day, from smartphones to microwaves.
Human Code represents the algorithm for the extraction of the ECG signal: a code written in C ++ language engraved on stone – as a technological medium that allows humans to monitor the electrical activity of the heart.

The depiction of a Palaeolithic artifact, the Venus of Lespugue, through its realization with a six-axis robotic arm (Digital Venus) reflect on the iconographic apparatus of a 25,000-year-old fetish, reproduced by replacing the technological variable: the same Venus created manually by Humans was first digitized and then printed by the robot.
Untitled, a human tibia sculpted in alabaster, is a quote from the “The Dawn of Man” a scene from “2001: A Space Odyssey” by Stanley Kubrick: the bone intended as the beginning of the human history on the planet but also seen as the symbol of our possible end, in a moment of profound uncertainty about the future of the species on earth.

more info on HUMAN CODE:
Roberto Sironi in conversation with Annalisa Rosso

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