Naples, 1967

February 3, 2021 - March 13, 2021

In this upcoming exhibition, Galleria Michela Rizzo questions the concept of ‘value’ and its many aspects, such as the market, economy, power, time, and currency. Money Money Money, curated by Elena Forin, is conceived to offer a reflection on this crucial topic through different points of analysis, highlighting themes that can be useful in this investigation: from the stage of economic and political power; to the imaginaries related to money; the visual presence of art; and its conceptual and market forms. The exhibition sets up a journey where artists from different generations with different approaches, languages, and interests explore the wide concepts of money and value.

Antoni Muntadas’ The Bank (1997), part of the On Translation cycle, ponders how quickly a certain sum of money can vanish through a progressive system of currency exchanges. Moreover, his reinterpretation of the European flag includes coins inside the twelve yellow stars to emphasise the purely economic and political nature of the European Community.

The implosion of the financial market and the consequential bankruptcy at the beginning of the new millennium are narrated by Nanni Balestrini: fragments of Giorgione's The Tempest (1502-1503) are mixed with ripped dollars and random letters, becoming traces of the remains of a humanity unable to decipher, re-elaborate and withstand the impact of its own actions.

Andrea Mastrovito through his reinterpretation of a classic horror movie modified frame by frame, Nysferatu (2018), questions the dangerous short circuit in the US society caused by the implementation of aggressive economic policies. Through the installations Bar C33 (2015) and Il critico come artista (2016) he criticises the precariousness of the present, where even the educational sphere relies on money.
In the series West (2014-2022), Francesco Jodice creates an "observation deck on the last great Western empire”, in which American history — from the great gold rush to the 2008 financial collapse — is rendered through images that document both the geological majesty of Western America and its current contradictions; ranging between militarisation and nuclearisation campaigns, technological development and the Hollywood dream. The five exhibited works invite us to take a journey to the end of the heroic saga of liberalism.

Ryts Monet isolates and re-elaborates the natural elements, like plants and flowers, and architectural elements printed on banknotes, which visually amplify the paradoxes on how countries choose to represent themselves through currencies. These works show on one hand the strive for a monumentalisation of the international image through money, and, on the other, the short circuit created by the recurring presence of natural specificities.

Aldo Runfola questions the genesis the artworks through money, which assume the task of tracking the artist’s movements: after throwing coins on the canvas, he follows the marks left by that gesture, creating the composition though the links between the given points.

The art market is not overlooked in the exhibition: Fabio Mauri’s Serie Sociale (1974-1975), consisting of fifty monochrome sheets of different colours, challenges the concept of the value of an artwork, as their prices double up day by day, reaching astronomical figures by the end of the exhibition. Lucio Pozzi, through his Red Planets, works on the ideas of presence, emptiness, and distance, increasing the price of the remaining painted boards each time one is sold. The commercial aspect shows its limits in quantifying the true value of art: both of the artists decide to increase the prices based on a purely arbitrary decision, as the two works are composed by almost identical pieces.

Cesare Pietroiusti’s Mangiare denaro - un’asta/Eating Money - an Auction, and, more in general, his Paradoxycal Economies series, focuses on the theme of exchange. This performance - conceived and performed with Paul Griffiths and held in 2005 at Viafarini, Milan - staged an auction where the public was allowed to offer an amount equal to the sum of two banknotes: the performers swallowed the highest bid and promised to return the money to the winner after evacuated, together with a certificate. From a simple transaction medium, money became a crucial part of the artistic process, as the action coincided with its economic dimension.

Therefore, Money Money Money tries to shed lights on those dynamics that are often latent or hidden behind the surface of banknotes and coins, developing an itinerary through artworks that call for a reconsideration of the concept of ‘value’.

A special thanks goes to Simone Frittelli.

Francesco Jodice (Naples, 1967). He lives in Milan.

His artistic research focuses on the continuous contemporary changes involving landscape and society, with particular attention to the new phenomena related to urban anthropology. His projects aim to build a common ground between art and geopolitics, trying to use his art as a sort of civil poetics.

He currently teaches in Milan. He directs the Photography class in the Cinema & New Media master degree course and the Visual Urban Anthropology one in the Visual Arts and Curatorial Studies master degree course, both in NABA. He also teaches at the Forma Foundation in the Photography and Visual Design master degree course, also in Milan and in collaboration with NABA.

He was one of the founders of the collectives Multiplicity and Zapruder. He exposed his works at dOCUMENTA, the Venice Biennale, the San Paulo Biennale, at the ICP Triennale in New York, further more he exhibited at the Tate Modern in London, in the Rivoli castle and at the Prado Museum. His main projects include his photographic atlas ‘What We Want’, his urban tails archive ‘Secret Traces’ and his cinematographic trilogy ‘Citytellers’ concerning the new shapes that urbanistic is taking.

Curriculum Vitae