Photography, video, sculpture, painting and performance: the works bring the plurality of contemporary artistic languages to the exhibition.

Taking today’s cultural context of hyper-production of objects and images as a starting point, Parsec proposes a narrative in which the spontaneous relationships that arise between the works, the environment and the audience are the ones to speak. Citing the project The Universal Addressability of Dumb Things by British artist Mark Leckey, the arrangement of both exhibition projects intends to suggest the existence of a network of interconnected objects through which reality can be observed by overcoming the centrality of language and, therefore, of the human being.

The artists in the exhibition break the relationship between subject and object and, consequently, the connection between the viewer and the work of art, immersing themselves deeply in the world. “The a priori rejection of any centrality is the great struggle of our time,” says art critic and curator Nicolas Bourriaud, noting how, despite the intent to critique anthropocentrism, in the formulation of contemporary critical thinking the human being continues to maintain a centrality, effectively failing to break away from the very concept of center and thus from deep-seated Western humanism.

it rains, it snows, it paints refers back to a statement by the artist Daniel Buren, who with this phrase seems to carry out, in defining the work of art, the same operation that the structuralists did in defining language. The juxtaposition of the two impersonal verbs that are used in English to refer to precipitation is meant to indicate that, as is the case with atmospheric agents, it is the work itself that manifests itself to the world in a process in which “reality is at the center and the human being is only one element among many others in the network it constitutes” (Q. Meillassoux).

The exhibition aims to invite us to adopt a relational mode with the works that eliminates the mediation of analytical language: to consider artworks as objects that generate thought rather than contain it, as open rather than defined forms. The works in the exhibition, as a whole, suggest that we approach them by adopting an object-oriented perspective: they become parts of a system – which also involves the spectators – whose relationships can constantly change and constantly generate new meanings. In this perspective, it is the artists themselves who pose from the beginning as observers and watchers. Parsec’s curatorial project therefore wants to emphasize the empathic bond that is formed between artists, works and the observer and thus acts on an unconventional linguistic plane, in favor of a “horizontalizing” mode of thinking that assumes no center.