Dino Gasperini,
Councilor for Cultural Policies and the Historic Centre

What would an archaeologist of the future say? If in 2000 years a researcher would start investigating our epoch through our daily artefacts, what would his judgment be about our world of plastic, cellophane and concrete?

Plexiglass, plastic, aluminium. Modern and actual materials for daily use which cover themselves with a patina of antiquity through their current use. Those are the instruments that Rósa Gísladóttir uses to make art a “measure” for present distraction, and at the same time a stimulus for the future we are creating, often under the banner of that distraction.

Determined to direct our attention to ecology, between theory and practice, sentiment and action, the artist transforms common artefacts into monuments of anonymous design, recreating forms and utensils, transforming them into works of art, subjects to personal interpretations of the viewers according to their vision of the world from the past through the present and future, creating a geographic and historical dialogue.

The confrontation between historical epochs made her choose Rome as an ideal scenario for the ecological message of her art. Ever since her very first visit to Rome in the Eighties she has felt the strength and power of archaeology as a non-casual message from man to man. Confronting the “leftovers” of our yesterdays the question regarding the “leftovers” of today for the future generations becomes inevitable, both regarding the health of the Planet and the historic self-conscience.

Gísladóttir prefers to draw our attention to these questions rather than to economy and recycling, although important in her research.

Various forms of utensils that have existed from the beginning of civilisation at least in their functions, become elements in a deeper discussion on the eternal, a discussion that insists on man’s obligation to become a protagonist also where he might seem to be a passive object.

We see totems of light and water, plastic and aluminium. Sculptures of natural materials as well as materials invented by fantasy and technology.  Here we see the archaeology of the future in dialogue with the archaeology of the past, that was its generator.