Home Art & StyleArt Alessandro Grimoldieu, a well-rounded expression of contemporary Transhumanism: ‘Man himself is now obsolete’

Alessandro Grimoldieu, a well-rounded expression of contemporary Transhumanism: ‘Man himself is now obsolete’

Written by Simone Di Matteo

A craftsman of the arts and master of precious metalworking, Alessandro Grimoldieu can be considered to all intents and purposes one of the exponents of contemporary Post Humanism. Although he refers to the core principles of the Post Human cultural project, however, his vision is even more extreme, so much so that he calls himself a ‘transhumanist’..His faith is firmly placed in the so-called techno-biological revolution, according to which there is a possibility of the fusion of man and technology, which for him is ‘inevitable’, capable of creating an enhanced and improved human being. And it is precisely from these assumptions that his works of art come to life, within which there is skilfully instilled a reflection on the current and future human condition, as well as on the relationship between Being and Appearing that governs existence today. All of this combined, as Post Human Art intends, with a representation of that process of reconstruction and biological change on the body as a physical box that leads to a further and, according to the artist, necessary evolution of our race. An interesting vision, dystopian for some and realistic for others, of the fate of the species, which Grimoldieu himself has decided to tell us more about.

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You are an all-round artist, tell us a little about yourself.
Ever since I was a child, I suffered from insomnia and my mother, to keep me occupied, had created a small space where I could give free play to my creativity. By sleeping a couple of hours a night, let’s say that by the age of 5, in addition to being able to read and write, I had experimented with every possible art form (laughs). I still remember that for me sleeping was a waste of time, time that I could have used by creating. Growing up, the insomnia ‘problem’ was not solved and in making art I would give vent to all my energy before finally being able to lie in the arms of Morpheus. After my first years at university, I devoted myself to goldsmithing and opened a company, which I still run today in parallel with my art projects. Then, during the pandemic, I decided to revolutionise my life by dedicating more and more of my time to art as an end in itself, and in 2023 I felt ready to pick the benefits from those seeds I had planted a couple of years earlier. I have one big flaw, however, which sometimes turns into a virtue: I don’t like to participate if I don’t win.

With your works you reflect a lot on Being and Appearing. Speaking of which, have you encountered more masks or more faces in your life?
I have always been fascinated by masks and their power to turn you into a different version of yourself. Masks for me personify even the most hidden, obscure and unconscious aspects of the infinite facets of the soul. For me they therefore have a positive value, because they do not hide or alter, but exhibit and exaggerate. Unfortunately, however, people often wear masks dictated by society or unresolved fears. It is difficult in this sense to meet faces that are able to consciously change their mask; it is much easier to come across masks that have taken over the face.

A past as a model and a future as?
I have a ‘love and hate’ relationship with the world of fashion. It is a kingdom of masks which, experienced from the inside, shows its dark side, but which, if lived with a healthy detachment, knows how to give dreams. I see my future as an artist, but I would like to be able to convey emotions and feelings that can make this reality a more pleasant world to live in. Art is a powerful medium that can touch the right chords and stimulate the chemical processes that form emotions. A true artist must have the awareness of holding a scalpel capable of changing many things, for better or for worse.

What inspired you to approach Post Humanism?
I have always believed that the human being is obsolete for the historical period in which we live. Technology advances inexorably and, what is new today, is old tomorrow. Man as a ‘flesh machine’ stopped being ‘new’ several years ago and we are only aware of a very small part of our potential. I call myself a transhumanist for so many reasons including the certainty that human-machine hybridisation is an inevitable step to take. We can no longer be governed by our biological nature, evolving means conforming with an improved version of our human being.

What is art for you? And what should not be considered as that?
Art is many, many things; it depends on the purpose you give to it. It can be trivially an embellishment or, in its deepest assumptions, a message. Art to my personal taste must be Beauty that arouses Love, but I am fully aware that this is not always the case and remains so. The thing that makes me feel sorry is when people ‘dress up’ something as art for the pure purpose of making it an economic investment that many only buy for business and without feeling admiration. I could give the example of many contemporary artists, but I prefer not to start on the warpath (laughs). 

Is there anyone in particular who was that source of inspiration that drove you to embark on this path?
Actually, I have no real model to refer to. Certainly, the fruit of my work comes from a huge imprinting of my subconscious, which is used to living from exhibitions, vernissages and research.

You spoke earlier about ‘beauty’. Do you think it will be able to save the world?
Beauty always triumphs, because after all, we all like beauty and it can never be truly subjective because we are constantly accustomed to and bombarded with canons. In time, these models vary and change, but sooner or later they re-emerge because we are unable to imagine something that does not already exist. Aphrodite is Goddess of Beauty but also of Love and I strongly believe that these concepts are closely linked. Love is the engine of the world and reminds us every day why we exist.

Why the choice of bone architecture and the lost wax technique in your works?
Bone architecture originates from a romantic vision of human biological functioning. I imagined that bone calcification might in the future extend and take material forms related to other natural patterns. Bones are the last remaining part of a human being and keep his memory alive until the end; they are the last parts of DNA that leave the earthly body. The lost wax technique, on the other hand, is related to my work as a goldsmith. As it is a very ancient working technique, I wanted to incorporate it into works that are projected into the future of transhumanism. The past merges with the future, reminding us that the present is only a moment in between.

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