Pino Poggi’s »Futurology«
Pino Poggi began to study futurology ahead of the 1968 movement around 1965. Pino Poggi is an artist in his imprint, sensitivity and creativity. As such, he is used to thinking in pictures. He does not need to initiate an actual translation process between perception and the thoughts it triggers. His thought is simultaneously a picture in which a problem appears to him, bonds him, and to which he turns immediately.
It is easy for specialists or scientific futurologists to prove Pino Poggi some inconsistencies (such as energy, etc.). Pino Poggi’s goal, or the purpose of his work in other words, is certainly food for thought or, as we could once say unencumbered, raising the awareness of an unspecialised audience through aesthetics which promotes questions; it is the urgency to mediate these questions in the face of suicidal tendencies of present-day developments and the necessity of a radical rethinking which attacks the essence of the problem.
One more time: Pino Poggi is an artist; the “social aesthetics” of his Arte Utile does not mean a sociologically based phenomenon, but an expression of social feeling and thinking. The important aspects are intuition, intensity, radicalism and communicability. The latter is, in my opinion, his very special asset in comparison with analogous creative artists; Pino Poggi does not build his own individual mythology, he lives in our world and speaks to his contemporaries, expressing himself in familiar, accessible images and sentences – he wants to clarify, not disguise. This is how I understand his social aesthetics and his development, which has led him consistently to street performance after dealing with utopia. […]
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