References that start with Leonardo, the great figure who opened the world to Modernity, reach our contemporary era with Andy Warhol. The artist, basing his research on the reworking of photographic images, revealed their great critical-analytical potential, exposing the blindness of a present incapable of reading itself.
We could synthesize this thought by placing it in the temporal space that, starting from the birth of Modernity understood as Progress = Technological Innovation, reaches the deep crisis of the Post-Modern and Post-Human era, i.e., its terminus.
Considering Damss’s previous works, referring to the three “wonders” of “Milan-Rome-Venice 3000,” a true high-voltage visual electroshock that violently drags us into the lost relationships of time: Past-Present-Future, one wonders how this work, in its chilly stasis, is not only formally but exactly its opposite.
“Pop Supper” is not a narrative, symbolic, or didactic work; it does not intend to convey specific messages or engage our emotional sphere. Daniela and Marco (DAMSS), aware of the power an image can wield, to the extent of influencing the course of a war, detach it from its exaggerated use, bringing it back to its pure state. Perhaps there is an intention in all this to create a “beginning,” a fresh start, to build a new interpretive key necessary to understand the new dimensions that overwhelm us daily. “Pop Supper” is a rare example in which art wants to break free from its patterns, not serve alleged intellectual spasms or the perverse mechanisms that constantly condition our behavior but, for once, be itself — pure aesthetic creation, generating the enigmatic doubt that what we commonly call reality is nothing more than a fleeting image. Text by Gabriello Anselmi
