Continuous profile of Mussolini (Renato Bertelli, 1933) embodies the denial of an image and at the same time the duty to exalt the effigy of a dictator. Unlike the tradition of visual art, the work is out of focus, precisely in the act of portraying an individual. It is a gesture that transforms and speaks mechanical language, the same that de-generates the image.
Continuous profile of Mussolini is the only futurist sculpture, the only one that speaks entirely the language of the machine that brought it back.
I repeat the action a limited number of times and always in a different place from the previous one. After each event I select an image that sublimates the action in the work. An action, a photo, a work. Each work contains its original sin thanks to which everything is in focus except the subject that justifies the presence of an audience.
What the viewer sees does not match what the photo draws from the action. Live, the outline of the body that rotates on the stool is in perfect focus. The work shows the nebulous outcome of the rotation and only the public and the space that contains everything appear clear.
The photo will never be the action because the work is something different from reality. In reality, the out of focus is something that escapes sight and the invisible that appears shows us unprepared.
The invisible danger is doubly insidious and when it is shown it is too late.