Vulcano was party to the “almost” perfect crime with a group exhibition that brought together over forty Italian and international artists, transforming in summer 2014 the PAC in Milan in a perfect scene of crime.
Vulcano was partner of the exhibition The crime was almost perfect, at PAC – Pavilion of Contemporary Art in Milan from July 11 to September 07 2014, cured by Cristina Ricupero. After the first phase at Witte de With Center of Contemporary Art di Rotterdam, it was presented in a new version and enriched by new Italian works, among which Maurizio Cattelan’s. Forty artists broke up the plans to create a relation between art and the crime aesthetic: you could find a clue on PAC website, for which Vulcano took part in the digital work by the artist Gabriel Lester and Jonas Lund.
Like any good detective story, art history is filled with enigmas, myths, and riddles waiting to be unraveled.
Solving these intellectual puzzles is a common pleasure and few are immune to such a cultural temptation. Although the link between art and crime can be traced back to ancient times, Thomas De Quincey explicitly theorized this connection in his notorious essay “On Murder Considered As One Of The Fine Arts” (1827). The nineteenth century also saw the growing importance of photography both in the development of criminology and in the new sensationalism of the tabloid press—two phenomena that popularized the genre of the detective story. Cinema soon became the perfect medium for capturing the dubious charm of violence and transforming it into pleasurable images. So, following De Quincey’s ironic proposal to analyze murder from an aesthetic point of view, The Crime Was Almost Perfect is an exhibition that invokes the spirits of visual art, architecture, cinema, criminology, and the modern crime genre.
Into the rooms, the audience must follow with the detective’s obsessive curiosity hackers, manager-zombies, shadows games, torture and desire machines, guillotines, books to robe, lie detectors, fingerprints: the exhibition infected each space of the PAC through unexpected videos, installations, paints, draws and objects. Through provocative or desecrating, ironic or reflexive works the exhibitions expressed its clues, as a trip into the chapters of a thriller labyrinth.
THE ARTISTS: Saâdane Afif, Kader Attia, Dan Attoe, Dirk Bell, Bik Van der Pol, Jean-Luc Blanc, Monica Bonvicini, Ulla von Brandenburg, Aslı Çavuşoğlu, Maurizio Cattelan, François Curlet, Brice Dellsperger, Jason Dodge, Claire Fontaine, Gardar Eide Einarsson, Matias Faldbakken, Keith Farquhar, Dora Garcia, Douglas Gordon, Eva Grubinger, Richard Hawkins, Karl Holmqvist, Pierre Huyghe, Gabriel Lester, Erik van Lieshout, Jonas Lund, Jill Magid, Teresa Margolles, Fabian Marti, Dawn Mellor, Mario Milizia, Raymond Pettibon, Emilie Pitoiset, Julien Prévieux, Lili Reynaud-Dewar, Aïda Ruilova, Allen Ruppersberg, Markus Schinwald, Jim Shaw, Noam Toran, Luca Vitone e Herwig Weiser.