FICTION-CRITIQUE

& IL TOPOaround_works_by.html
In a city, a museum, a biennial, a collection, an exhibition. Artworks, monuments, statues, buildings from the distant or recent past, analyzed and explained from the perspective of TOPISM. Art movements – but also religions, philosophies, styles and fashions – often have a way of retroactively laying claim to phenomena from the past, constructing historical legitmacy by appropriating famous works and authors. Great achievements of the past are recruited as the unwitting and perhaps unwilling accomplices of new tendencies and new categories, new “isms” shouldering their way into the spotlight. Desires, positions, even cosmologies of the present are constantly being projected onto illustrious examples from the past, often deforming or tainting them, sometimes in good faith, with great sincerity, sometimes with the most devious of aims and subtlest subterfuge. Surrealism, for example, claimed many forebears, from Sade to Lautreamont, Rimbaud to Poe, Granville to Atget. The Topist idea of Fiction Critique puts the accent on the first part of the term: FICTION. It ranges from poetic blindness to deliberate satirical falsehood, in an attempt to disorient and distort the experience of the visitor to the exhibition, or the observer of the images the exhibition contains. around_works_by.html

Fiction Critique is an artwork by & IL TOPO produced by FRAC Bretagne (2014) which refers exclusively to the exhibition Collection: Un rêve d’éternité.

& Il Topo movement is: Armando della Vittoria, Mattia Barbieri, Iain Baxter&, Marco Bazzini, Caspar is Caspar,

Rugiada Cadoni, Guillaume Clermont, Gabriele Di Matteo, Francesco Fossati, Stefania Galegati Shines, Piero Gatto, Martín Giménez ex Larralde, Debora Hirsch, David Liver,Fréderic Liver,Francesco Locatelli, Monica Mazzone,Pietro Montone, Giancarlo Norese, Steve Piccolo, Fabien Pinaroli, Luca Pozzi, Gak Sato, Franco Silvestro,Aldo Spoldi, vedovamazzei,


Special thanks to: Catherine Elkar, Leszek Brogowski, Aurélie Noury, Florence Bonnet, Dagmara Stephan.

While making use of valid historical research, ficTOPOcritique makes no effort whatsoever to provide the public with necessarily reliable documentation or insightful commentary. It enhances or compromises the experience of the artworks of others through a disarmingly dishonest and parasitical approach. Each selected work from the exhibition/collection is “explained” and narrated by one person, through complete invention and fantasy, and always from a Topist perspective. The “ficto-critics” can be artists, writers, philosophers, scientists, historians, celebrities, as long as they are involved in or associated with the TOPISM movement. Materials: Sound files for personal devices (smartphones, mp3 players, tablets), plus illustrated or simply printed texts. Each “fiction-critic” can use music, sounds, noises, stories, diagrams, hypnotic suggestion or any other technique that can survive encoding in audio files or on the printed page. http://en.wikipedia.org/wiki/Fictocriticism http://en.wikipedia.org/wiki/Fictocriticismaround_works_by.htmlshapeimage_4_link_0
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