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‘brescia di merda’ by andrea mastrovito, 2000, paint © andrea mastrovitofollowing text from the press release:
‘dirty balls’ by kendell geers, 2002-2006, installation (masks, footballs, net) © kendell geers‘point of departure of the exhibition: two emblematic works that illustrate in particular the gradual installation of football in the media landscape – a video portrait of zidane by douglas gordon and philippe parreno and a video portrait of george best by hellmuth costard. between these two filmed works, more than thirty years have passed, marked by fundamental changes in the world, for which the exhibition presented at the B.P.S.22 is intended to be an echo through works which approach or question football and its connections.’
‘faces of football (zidane)’ by mathias & monika braschler fischer, 2005-2006, photo © mathias & monika braschler fischer‘a lot of facets connected with this sport have been explored in this way and will be presented at B.P.S.22, among them, the ritual dimension of the fans, the links between politics and football, the violence of some ‘ultras’, the playful, friendly aspect of this sport, its emotional element connected with memory and with childhood, the media celebration of certain phases of play, financial corruption, popular traditions, the financial stakes of the major brands and the production conditions of merchandising, the cliché of the stay-at-home woman and the man who is sporty and/or a consumer of sport, etc.’
‘série népstadion’ by maria zgraggen, 2005, inkjet printing on mat © maria zgraggen