+ Emalin
Adriano Costa’s practice mixes universals with trash. He will object to this – just as he would refute the existence of found objects, or site-specific exhibitions. Imbuing all of the material world with the same force of spiritual importance, he concludes that everything is found and everything is site specific. Taking this logic forward, his practice interrogates the alchemy of matter and value, driven by a desperate love for things discarded. Love’s powerful logic spreads into his treatment of other universals and moves him to abolish the hierarchy of value between different materials. And so Costa wishes to redirect attention away from pedestals and grand gestures by placing his works on the floor, leaving them unguarded, easily mistaken for the trash he is so indebted to. The existential mistake of value stands to Costa for something of the tragic farce of the world — a spiritual kind of humour that unfolds in material objects.
Emalin
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