Stefano Mitrione, one of Italian's more controversial young artists, brings a diversity of specific individual determinations, which appear to take place in a particular temporal and spatial relationship, to his work. Mitrione's art, and its patent subjectivism, is anchored in the significant role that the media plays in constructing and manipulating reality. As a result, he uses images of artistic events that appear in daily digestive methodologies such as the Web, recapturing those images in a totally different frame.
In an age when we can effortlessly snap pictures at any given moment (even with our mobile phones) who needs an old-fashioned memory? Cameras and lenses abound everywere - from surveillance equipment in banks to surreptitiously hidden devices in elevators. It seems that we no longer need to bother our brains to catalogue any of the events in our lives - the analog human memory is quickly becoming supplanted by technologically mediated data played back on the Web.
The decady of grand narratives and ideologies, the loss of a meaningful social perspective, the impossibility of conceiving that the totality of the world is accompanied by an enormous concentration of fragmentary identities, and the internationalization and expansion of meaning enshrined in an unfathomable multitude of "small historicizations" of non-narrative constructs : Stefano Mitrione goes through these notions and brings out visual aspects of the activities from his surrounding.
Mitrione's observations and artworks undoubtedly offer a window into an explosive combination of philosophical and political thoughts, and into the multilayered ways in which these inform his art praxis. His targets, which he always aims at with a dose of wry humor, are by now well known : the great international institutions like Saatchi, Tate Modern,...