The world of "uominiuomini" is that of multiplication, of the proliferation of an elementary sign. Elementary and orderly men, men-functions, men who, in full technological age, identify themselves identically by the function they perform and their primary function consists precisely in letting the identity of the apparatus, and not that of the subject, be leaked.




Each original work is the result of the most consequent application of the laws of reproducibility, not photography, not photo-mechanical, not played on visual sculpture introduced by light, but graphics.

The work is original precisely because it requires a construction process that assumes the techniques of graphic reproducibility as valid, as "appropriate". Each original is valid not only because it is unique, but unique in that it is created by breaking the technological logic of reproducibility.




The "men" crowd the works of Marco Morosini, they are the "mass", the undifferentiated and indifferent multiplicity, they are the other cornerstone that, together with the technique, places the concept of uniqueness, of identity of the work of art, in a cone of shadow.

He questions it, subjects it to incessant testing. It is no coincidence that the sense of order in his works is always precarious: some position or some instrument enter to upset the world of "men", which inevitably shatters, disrupts and breaks down.