Attila Csörgő: Spherical Vortex, 1999

Janaina Tschäpe: Juju, 2004

Liz Cohen: Grinder, 2005


Are you experienced?

16 December 2006 – 15 February 2007
Ex Mercato Ortofrutticolo, Pescara, Italy
vernissage: 16 December 2006

5 May 2007 – 10 June
WAX (ex MEO), Budapest, Hungary
vernissage: 4 May 2007, 19.00

26 June 2007 – 22. July
Galeria Noua and MNAC National Museum of Contemporary Art, Bucharest, Romania
vernissage: 25 June 2007

Are you experienced? This is the question asked by Nicolas Bourriaud and Paolo Falcone to present the 17th Fuori Uso exhibition in Pescara, Budapest and Bucharest.

This exhibition is the winning project of the European Programme Culture 2000 which is financially supported by the European Union. It is co-funded and promoted by the Town Councillorship for Community Policies in partnership with the “Arte Nova – Fuori Uso” Cultural Association, the Abruzzo Region, the Pescara-Abruzzo Foundation, ACAX of Budapest and Galeria Noua of Bucharest.

Are you experienced? is organized as an itinerant exhibition: in 2007 it will be hosted at the WAX (ex MEO) programmed by ACAX, Agency for Contemporary Art Exchange of Budapest, directed by Barnabas Bencsik, and at the Galeria Noua of Bucharest, directed by Aurora Kiraly, and at MNAC National Museum of Contemporary Art Bucharest.

Fuori Uso has become an event of paramount importance. Created in 1990 from an idea by Cesare Manzo who intended to realize an international art show inside abandoned buildings. During its many years of activity, it hosted the main actors of the contemporary arts scene such as: Michelangelo Pistoletto, Mario Merz, Richard Long, Joseph Kosuth, Nam June Paik, David Hammons, Haim Steinbach, Enzo Cucchi, Alighiero Boetti, Maurizio Cattelan, Vanessa Beecroft, Paul McCarthy, Carsten Höller and Rirkrit Tiravanija. Many successful critics and curators were called to organize the exhibition such as Achille Bonito Oliva, Giacinto Di Pietrantonio, Hou Hanru, Helena Kontova and others.

Are you experienced?

Are you experienced? aims to examine the relationship between art and the processes of modification of perceptions. Under the concept of social surrealism it intends to link induced altered states to a collective dream into the contemporary artistic expressions. The project considers several aspects implying the study of new theories linking the alteration experience or modification of perception, from sculpture to painting and video, to performance, to site-specific installation, with anthropology, sociology, shamanist practices.

Social surrealism

It is no longer the individual who is delirious. It is the social format of which the individual is part. Apparently, the collective unconscious is more important, more "talkative" than the sum of the individuals' unconsciousness. "It" talks: the artist cuts out small parts of discourse in the abundant flow of social discourse, he or she decodes the flux, photoshops it, post-produces it, highlights it: pure editing of an impersonal stream of consciousness. Who is talking? Taking the floor is one of the greatest challenges of our era: taking the floor in the name of what.


In the capitalist society the psychological status of the individual is very similar to the infant's. Jacques Lacan showed this link with the theory of the object a. Briefly, the infant asks for food because he feels a need (to eat); however, since he is a human being, dominated by the language which separates him from the real, he is disappointed. Then, his need falls into desire. What does the infant do then? He hallucinates. He hallucinates the desired object. For instance, he transforms his mother's breast in a mental breast, which he can actually have. Hence, the hallucination represents a desire that has become an image, the purest form of substantiating the human needs in a society in which the needs, the requests and the desires are the pillars of daily life. Art, which primarily materializes the relationships existing in the world, constantly hallucinates its objects of desire. These objects can be abstract, sparkling, informal, tender, indirect or not. Anyway, we cannot stop hallucinating: our identity has become a mere projection, a black hole whose edges palpitate under the effect of desire.

The hallucination is an alteration of perception: inexistent visions, objects and sounds become, for an individual, concrete, objective and real elements? Art can be the product of such imaginative hallucinations deriving from altered psycho-perceptive conditions which the artist and the audience experienced...