B.zarro
THE RED (AND YELLOW) WOUND. A star, a sickle, a hammer, the signature B.zarro and a Rolls Royce: strange alliances which in suspicious times would have created ideological outrage and political delirium. On the contrary, the post-Communist present allows strident reflections which become a "guilty" but justifiable form, a desecrating wound to stimulate new ethical clarities and a creative vitality without ideological bonds. The Rolls Royce is transformed into a red stain and leaves those yellow symbols floating on the geography of elegant old-style plate. Colour explodes in its status as a nomadic flag that crosses borders and barriers. Symbols tattoo the outer appearance of the car, become its passport but also its cathartic fuse, the definitive short circuit that gives sculptural vigour to the fetish in perfect roadworthy conditions. The British car par excellence, symbol of a tenacious conservative luxury, is overturned by the post-Dadaist model of B.zarro, an artist who has accustomed us to other ethical reworkings of imposing objects from our daily life. The three symbols of Communism (Russian on one side, Chinese on the other) keep their fiercely Utopian message alive, standing out against the red like milestones of a Marxism/Maoism that upset the destinies of the whole world. But they do not intend to reaffirm the reasons of an impracticable ideology, on the contrary they use provocation to reset our view of the vulgarity of the world of today. The Rolls Royce travels on its own wheels, occupying the spaces like a sculpture without home or country. The asphalt is its museum, the sky its light, passers-by its illustrious spectators. It stands there like a monstrous institution of post-colonialism, post-Fordism, post-Communism and so many other “posts” of our world. It takes the eye beyond pop, beyond fetishes, beyond quotation. And takes us back to the start from which we can finally engage first gear…
