This work questions the unclear attitude of western and post-colonial visual culture towards the african issue. On background composed by a pattern which recalls the Toile de Jouy (a pattern usually implied by Indians and imported by Dutch colonialism to West) in its colours and the Harlem streetmap in its form, Emmett Till’s face alternates with Arnold’s one: Emmett’s face is represented by the pictorial transfiguration of Dana Schutz’s painting “Open Casket”, instead Arnold’s face is represented by the Stencil realized by the street-artisti ZIbe.

They both recalls two diametrically opposed existences of a black guy in western culture: on one hand a young black boy, who is saved from his destiny in the Ghetto by the white supremacist capitalist businessman who tried to turn him into ax exemplar Manhattan boy, on the other hand anothe young black boy, slaughtered by the latent American conformist racism.

Schtuz’s painting has been long argued during the Withney Biennal in 2017: this work provoqued the reaction of many afro-american artists, among whom Parker Bright, who stood in front of the paintig wearing a t-shirt with the printing: “Black Death Spectacle”.

At this point we can quesion ourselves about how and accorind to which ways of expressions the western culture absorbs and throws racial  issues up and how it includes and refuses the differences at the same time.

Study for a Commemorative

Batik: assimilating Arnold,

evicting Emmett merging into Neue Expressionismus


Digital Print on cotton banner

500 x 60 cm.

Veduta dell’istallazione presso Galleria Federico Bianchi (Milano) per la mostra “Perchè non sono mai riuscito a nuotare, ho deciso di volare” a cura di IAC.