Lucas Di Pascuale

Recent Work

Projets

Texts

Bio

Drawings


Susana Lescano's Book presentation,
Museo Caraffa, Córdoba, 2006.

 


Dear Susana,

How are you? First of all, I want to thank you for having invited me to the presentation of your book. I want to thank you both as a designer and as an artist. I admit that you caught me by surprise and at first I hesitated about whether to go or not…but afterwards I got excited about the idea, although I probably didn’t let you know.


As a designer:

I just wanted to tell you that it has been a pleasure for our studio to develop La escultura de Susana Lescano (Susana Lescano’s sculpture); I believe that, even though it took more time than everybody had expected, we worked wonderfully. This may be because you are not like those persons who tell you: “you are the one who knows”, and then “oh no…I don’t like that red on the lid, red doesn’t suit me”, as if we were dealing with a dress. It may be because you are not like those artists who think art is above everything and do not by any means allow any typography on their work; as if one, instead of producing the design on the computer, were pasting letters to one’s work.

You aren’t either like those who agree with you in everything because they read the chapter on How to deal with suppliers in some book about marketing and after admitting you were right, they meddle and manage to turn the design into a tasteless mixed salad.  

I tell you I felt almost as a doctor, because when a doctor states “you have such and such disease and must take such and such medicine”, one believes him,  that is why poor doctors studied like crazy for so long. On the other hand, as regards design, everybody can give an opinion without fear of making a mistake, after all, there’s no accounting for taste.


As an artist:

My surprise was bigger, since we nearly met because of your book and because we belong to different generations. Have you noticed that when we artists think about other artists with whom to share our work, we find it difficult to get out of our generation, we find it hard to go away from our group.

We are a huge number of unconnected circles and many times when we are young and know we can change the world, we are not able stop and look back. And when we stop being young we also stop looking at what is new, after all, we know that just a little of that will continue through time. Then, the several generations don’t meet and we miss the opportunity to learn from one another.

Probably, the lack of information makes it not possible to know one another, but there is also something in ourselves, in our culture; maybe we feel more comfortable about avoiding memory.

I tell you that I have an obsession with crossings, several crossings: between art and politics, between what is public and what is private, between different means of production, and also between generations of artists. And that is why I thoroughly enjoyed your invitation to celebrate the presentation of your book. Because to be means to make a crossing and because your book facilitates future crossings.

So as to say goodbye, I’m thinking that on 27th at night we should drink a toast because due to this 260-page-book plus cover, the Cordobeses (inhabitants of Córdoba), and especially the plastic artists, are a little less unidentified.

Best wishes,
Lucas