Si el desierto avanza, sembremos más
Romina Orazi is an artist and an active participant in free culture. Her works, declared under the statute of copyleft, usually adopt the form of devices to be used, appropriate, copied, multiplied. Nomadic or adaptable shelters and houses, as well as the planting of plant species in marginal or inhospitable spaces, act as a metaphor for life that proliferates, stubborn, even in the midst of adversity.
Romina repudiates the value of originality (private ownership of resources) as much as she estimates that of authenticity (the desire that drives its use or appropriation). She measures the success of the projects by its contagion capacity. She is not interested in art as a space for the reproduction of power, but as an instance of the availability of powers.
Everything is given, Duchamp said, and so he reinvented the wheel. She also said that an artist is the one who can make that minimal but fundamental difference that separates one copy from another. The old idea of art as a brilliant creation would no longer be relevant, but the ability of all subjectivity to sustain itself in a world dominated by machines that replicates information.
Spinoza distinguished ironic laughter, which enjoys pointing out human misery, from ethical laughter, which celebrates what mankind is capable of. Recently, a jury’s decision to award Romina Orazi for her specific intervention project “Mobile Housing” has been contested, due to allegations of plagiarism reproduced via the Internet by a number of actors in the field of art.
One would have to wonder how valid a concept of plagiarism that began to be debated at least a century ago can have today. In any case, what is at stake here is not the mistakes, mistakes or negligence that an artist may commit in her work, but under what criteria we want to live together, at least in the art world”.