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                  <text>&lt;p&gt;&lt;span&gt;&lt;span&gt;&lt;span&gt;Lorenzo Scotto di Luzio.&lt;/span&gt;&lt;/span&gt; &lt;span&gt;&lt;span&gt;Pozzuoli (NA), Italia 1972.&lt;br /&gt;Lives and works in Berlin.&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
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                <text>This unrealized work donated to MoRE museum consists in a performance staged simultaneously in two different galleries in Berlin, in one venue there are many young mothers with babies, while in the other there are elderly people. The overlaying of the two actions creates a kind of disorientation in the viewer who is facing the two venues to enjoy the same work of art, the visitor entrance is potentially submerged by these presences that are on an ambiguous track between irony, sarcasm and an uncanny feeling of “homologation” of the protagonists. This work can be considered a modern allegorical composition of the three ages of man, on the one hand young women with their children – maturity and youth – while in the other gallery there is the last stages of life. Even if the work has an “aulic” meaning and evokes an iconography of the past, it developed through a ludic dimension which characterizes a great part of the work of the artist. Therefore there’s not only a Marcel Duchamp vein in Scotto di Luzio’s poetic, as we can see in &lt;a href="http://moremuseum.org/omeka/admin/items/show/35" target="_blank" rel="noopener"&gt;the other project donated to MoRE&lt;/a&gt;, but also a performative research that approaches both the avant-garde of the Seventies that the more recent trends of the Nineties, and that is penetrated by a Neapolitan sense humor with ancient roots (remembering Totò and Eduardo de Filippo) that conceals melancholy and irony.&lt;br /&gt;The project was created in collaboration wirh the Krome Gallery (Berlin), but a second gallery has never been found.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2415/1/scotto_untitled.pdf" target="_blank" rel="noopener"&gt;Read more.&lt;/a&gt;</text>
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                <text>The project involves the construction of an escalator in the desert. In this project, as in&lt;a href="http://moremuseum.org/omeka/admin/items/show/id/33" target="_blank" rel="noopener"&gt; the other one donated to MoRE&lt;/a&gt;, Lorenzo Scotto di Luzio works on the opposites, inserting in a totally neutral setting – a distinctive trait of the Eastern world – an element with a strong “western” connotation, that represent the commerce and that clashes with the unspoiled landscape of the desert. In the idea of Scotto di Luzio, the staircase is defunctionalized and will not need any maintenance, it should deteriorate and become a relic, an abandoned monument, almost “commemorative” of a past world. Even here the artist hides a paradox, perhaps a joke: the celebration of the western cult just inside the eastern world, two concepts and two cultures that come together to create a sort of epiphany of the vision, just like a “mirage” in the desert. The artist, in the review of the project, calls it a “bachelor machine”, a sterile and unproductive device, a sort of ready-made on a large-scale, defunctionalized and completely out of context, designed not to be placed in the hall of a museum but in the desert, an aseptic and neutral space.&lt;br /&gt;The project was born withouth clients, and with the willingness to propose it to some commissioners in the Emirates, but has never been proposed to any possible commissioner.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2414/1/scotto_scala%20mobile%20con%20deserto.pdf" target="_blank" rel="noopener"&gt;Read more.&lt;/a&gt;</text>
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