The performance project by Tomaso De Luca is a reflection on the relationship between body and monumentality.
Sculpture, a central theme in the work of the artist, becomes live material in this performance, a bizarre and useless prosthesis.
One of the founding concepts of statue making, similarly to architecture, is the change in scale, the enlargement or the shrinking in the body's dimensions that inevitably become inhumane and abstract. Levering an annoying anomaly inherent to this change in scale, the artist imagines a paradoxical use of sculpture, an excersise that reciprocally modifies forms and postures of the body. The nine sculptures by Tomaso De Luca look like shapes between organic and architectonic: ceasing to use a view of wholeness, ideally bringing eyesight closer the surface of the classical sculpture, the artist records its details and imagines its hidden parts. The inside of a cheek, an ear, the spine, armpits and the pharynx acquire a frightening indipendence, they don't have a body that owns them and now they are scattered around the Palatine Stadium. Two performers, Lucrezia Micheli and Luigi Ciccaglione are like athletes training who make of these objects instruments as they explore their potential, they influence them and they are influenced by them in a dual relationship.
In rewriting the formal hierarchy between objects, bodies and space, Kouros (A Dialogue With Someone Taller Than You) poses an a-historical perspective towards antiquity and organizes a one to one relationship with the monumental. In this "attempt to sculpture" the artist poses the question on the function of anthropomorphism, the acknowledgement of ourselves in the world. In thinking at which autorepresentation of the world the human has "won" on the others and we ask ourselves what has been lost, like the mysterious and wonderful smiles of the kouroi and korai of the archaic era.