White flag

Text by Guido Bartorelli

There is no sentimentalism in Robert De Pol’s works. Surprisingly, given that his works assert in revealing little gestures or happenings that usually are let drain away, without leaving a conscious trace of – for example - the sound of the down- pouring rain over a roof; a reflection of an insignificant offense in the eyes; a curtain moved by a hidden presence. How is it possible to avoid that such 'epiphany’ will bring along a predictable emotional aura? Hence, the goodness of Roberto De Pol’s invention consists in simulating these actions and happenings through the use of mechanical devices. By being both elementary and efficient, these devices replace man and nature reproducing the action in a wonderfully deceptive way, with the exception when lingering longer for that particular impassive iteration typical of a machine. Moreover, as soon as you move backward, such machine presents the quality of a kinetic sculpture. It happens that the revealing shift of the tent, after shocking us for the alleged presence of “the other", loses its emotional charge, and it stretches in a pure kinetic-rhythmic sequence, which continues to refer to a certain content that is by now objectified. The titles seal the effect, which are nothing more than just a literal list of the materials used. In the case mentioned: Car battery, charger, electric cables, wood, adesive tape, wipers, curtain, screws.
We also must recognize that the objectification of human feelings through the operation of the machine does not give a peaceful result, “all around”, but leaves an unresolved incommensurability perceived as irony, or even better as a concern, an enigma. This is dramatically visible in the work for Querini Stampalia, where the oscillation of the wiper is used to wave a white flag, ambiguous symbol of peace that undergoes the violence of defeat. Never before in such occasion, has De Pol’s machine appeared so inhuman in order to imitate the human.
Finally, it is important to indicate that the machine has been transformed into its new function by other people, artists Eva Barto and Iacopo Seri. These artists are recognized by the main artist for their contribution by listing their names in the title’s enumeration. With an important clarification: “Conceptually the work differs from the classic partnership. By assonance it is closer to the ‘open source philosophy’, and follows the process used for software, where the code source is free, modifiable and adaptable to new contexts or uses. “