Submission
Pietro Agostoni

Why Me?

Dear, We are contacting you to present our recent show at Associazione Barriera in Turin. Tailored to the spaces of Barriera, the exhibition "Why Me?" by Pietro Agostoni consists of a corpus of artworks on paper, photos, sculptures and installations that show the propagation and ramification of the artist’s research. The exhibition takes shape from the practice of the accumulation of residues, relics and wastes woven into a web permeated by a sacred deterioration that turns out to be transformation. New and old faces meet at this already consumed banquet: Biagio Palmieri, Daniele Guerrini, and the Fictitious Graffiti Krew (Šimon Sýkora, Junwoo Park, Samy Boudol, Paul Bizkargüenaga), who, with their different skills, help to exorcise the austerity of modern architecture and give life to space. If you like our project and you think it may suit your work, we would love to get it featured on your platform and receive your support. You will find the exhibition text written by the artist and a selection of pictures with captions. Photos include exhibition views and details together with some video frames of Heith Live Show performed during the opening. For any further information don't hesitate to contact us and thank you so much for your attention. Associazione Barriera


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0. Pietro Agostoni, Why me?, exhibition press release, 2021. Photo by Gabriele Abbruzzese.
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1. Pietro Agostoni, Why me?, exhibition view, Associazione Barriera, 2021. Photo by Gabriele Abbruzzese.
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2. Pietro Agostoni, Notes on Humanity by Angel’s Hair, paper, wall glue, 400 × 48,5 × 49 cm, 2021. Photo by Gabriele Abbruzzese.
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4. Heith live show, detail. Photo by Gabriele Abbruzzese.
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5. Heith live show, loudspeakers, tibetan bells, voice choir, rattles, synths, socks, 2021. Photo by Gabriele Abbruzzese.
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7. Pietro Agostoni, The Crucifixion of Banana-Bats, chains, ceramic, thistles, brambles, bones, hair, wax, palo santo, firecracker, dragonfly, water lily leaves and flowers, trash, variable dimensions, 2021. Photo by Gabriele Abbruzzese.
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8. Pietro Agostoni, The Crucifixion of Banana-Bats, detail, 2021. Photo by Gabriele Abbruzzese.
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9. Pietro Agostoni, The Crucifixion of Banana-Bats, detail, 2021. Photo by Gabriele Abbruzzese.
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11. Pietro Agostoni, The Crucifixion of Banana-Bats, chains, ceramic, thistles, brambles, bones, hair, wax, palo santo, firecracker, dragonfly, water lily leaves and flowers, trash, variable dimensions, 2021 Photo by Gabriele Abbruzzese.
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13. Pietro Agostoni, The Crucifixion of Banana-Bats, detail, 2021 Photo by Gabriele Abbruzzese.
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14. Pietro Agostoni, The Crucifixion of Banana-Bats, detail, 2021 Photo by Gabriele Abbruzzese.
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16. Pietro Agostoni, The Crucifixion of Banana-Bats, detail, 2021. Photo by Gabriele Abbruzzese.
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17. Pietro Agostoni, The Crucifixion of Banana-Bats, detail, 2021. Photo by Gabriele Abbruzzese.
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18. Pietro Agostoni, Why me?, The Crucifixion of Banana-Bats, 2021. Photo by Gabriele Abbruzzese.
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21. Pietro Agostoni, Biagio Palmieri, Chiesa di S. Maria Assunta di Riola (BO) feat Samy Boudol, print on cotton paper, 50 × 75 cm, 2021. Photo by Gabriele Abbruzzese.
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24. Pietro Agostoni, Why me?, exhibition view, Associazione Barriera, 2021. Photo by Gabriele Abbruzzese.
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26. Pietro Agostoni, Tinder, copper, 74 × 77 × 53 cm, 2021. Photo by Gabriele Abbruzzese.
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30. A frame of Heith Live Show video documentation, Associazione Barriera, 2021. Video by Gabriele Abbruzzese.
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33. A frame of Heith Live Show video documentation, Associazione Barriera, 2021. Video by Gabriele Abbruzzese.
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19. Pietro Agostoni, Why me?, exhibition view, Associazione Barriera, 2021. Photo by Gabriele Abbruzzese.

Why Me?
Pietro Agostoni

Biagio Palmieri, Heith & The Fictitious Graffiti Krew (Šimon Sýkora, Junwoo Park, Samy Boudol, Paul Bizkargüenaga)

17.09 – 30.10.2021
Associazione Barriera, Turin

curated by Sergey Kantsedal
with the assistance of Yuliya Say

Why me?
Why am I me?
Why am I not another?
Maybe I was, but who?
I wish I wasn’t me for at least one day.
Being a flower, a vegetable,
vegetating there.
But I’m an animal instead, animating here,
animating there.
So plants don’t have a soul?
Where do souls go when the body dies?
What happens when I die?
Who sees like me?
Who knows how Nikola Tesla saw.
How do the blinds see?
How is it possible that someone else sees like me, thinks like me, understands me.
When people say I understand you.
But it’s not true.
I understand.
But then, when you die you’re alone.
And where do we go after that?
Maybe we get back together, maybe “you never come back”, or maybe it starts right now.
Maybe we go where we no longer ask ourselves who we are and what things are.
Maybe it’s like being in an immense room with a giant screen and a boundless VHS archive with all of our existence recorded. And we stay there, in the clouds, along with the other souls, looking at the highlights from other points of view.
Not ours.
Looking from the outside.
Seeing as someone else. Seeing better, seeing more, understanding how one feels on the other side.
Seeing the invisible threads connecting us.
Maybe it’s like in the Flemish triptychs: us, naked, chewed by Lucifer’s mouths,
and the transmuted others who reach eternal joy.
I’ve always been afraid of the concept of eternity.
How can one understand words?
How can one not have a syncope thinking of living in a universe that, although infinite, is expanding?
Observing the dances of the planets drawing mathematical interlocks, so surgically exact as to generate life here.
Sure…
It all seems so trivial and obvious.
Sixth grade stuff.
How can one live peacefully, aware of the limits of knowledge?
As if, from a privileged position, someone looked inside a pot full of microcrickets commenting:
«So cuuuuute they’re building a particle acceleratorm».
I wonder if the crickets know.
We should learn the language of nature and ask her.
Maybe we used to do it.
But now we speak, we write, only among ourselves, with human words made just for us,
words made of letters corresponding to sounds.
A
The primordial one.
The ox, the horns, the crown, the high, the falcon, the blade, the plow. Pointed symbols of fertility.
In school they teach us the alphabet and numbers, but they don’t teach us why the alphabet and numbers.

I could keep asking existential and naive questions but the answer, in the end, is always the same since you were a child:
«Because that’s just the way it is!»

It is understandable…

Finally, you can’t have all the answers on a silver plate.

Pietro Agostoni