Turning from the graphic software post-production to an anarchist-street historicity, political leader’s images lose glaze and discipline to earn a new meaning. Atmospheric agents, unsatisfied voter’s insults and stratified political competitor’s posters, produce a synthesis which reminds us how images, even in the apogee age of mechanical reproduction, can regain the aura of uniqueness when they escape digital monitors and arrive at the materiality
of our cities.

Pixels and crumpled papers propose an alternative interpretation of images that we can no longer identify. As an iconographic overdose flow that overwhelms us, these images make everything look the same and therefore uninteresting, nourishing a detachment and straining the relationship between the subject who looks and the subject who is been looked, as among those who vote and those who are voted.

“Governissimo” reconciles us to politics proposing a personal interpretation of reality, through images that are the result
of politics itself.