"To the question whether art should intervene or not in political issues I would reply that in every society there should be artistic activities of every sort, if they want to have some 'value'. Between the decorator in a porcelain factory and the passionate agitator there should be a free space. I believe nevertheless that there are times in which artists have to be oriented towards the latter way of expression. Even though they consciously do not want to move away from their aesthetic contents, they should at least intervene with verbal, clear positions wherever the survival of people is threatened by despots. Human beings cannot exist without fighting against injustice and slavery, nor without Fine Arts."


Günter Brus, 1984

Standardisation is a tool of control and constraint of people into reassuring and harmless psychological and architectural boxes in which any hint of improbable rebellion would be easily sedated.

My work tries to suggest these ideas showing sanitised office blocks, censored landscapes and lifeless environments. With my photographs I would like to insinuate a subtle sense of violence in our deeply hierarchical society. I am interested in the point of view of the loser, the marginalised.

Often we are forced to have only restricted views, uncomfortable to maintain. In spite of this, I believe that one can take advantage of this apparent fault and use it to observe and understand things in a different, unexpected way.


Gianluca Cosci, 2006


Throughout my career I have often been interested in the concept of censorship both in metaphorical and literal sense. Censorship as a limit - visual and physical one - in our daily lives, as the expression of power structures.

Recently, in my artistic practice (with its eclectic nature, based mainly on photography and painting) I have been using found paintings on which I make various interventions and alterations. My "irrevocable" actions follow the same logic of economic supremacy in which the owner decides the ultimate destiny of the owned.

My approach to these paintings is intended to establish with them a dialectical but imbalanced relationship. The found artwork thus becomes a palimpsest for the construction of a new visual structure through the irreversible change of the original work of art, which becomes a victim or "forced partner" of a unilateral artistic action.


Gianluca Cosci, 2015