Photographer Veronica Viacava about Sisyphus, capitalism, and how to do nothing
Our next-generation 2022 showcase highlights 22 talented graduates from around the world in seven creative areas. Here is the profile of Veronica Via cava, a photographer at the Royal University of the Arts in London.
In recent years, Veronica Viacava has been devoting her time to a 12-hour shift in a restaurant and studying at the Royal College of Art in London, during a major refurbishment.
By moving between these two environments, she was constantly aware of the relentless and repetitive nature of hospitality and construction work, and their commonalities. Just as waiters rarely sit down and taste the food they serve, construction workers rarely live in the structures they build. Neither is likely to enjoy the fruits of their labor.
An Italian artist who collects and composes objects typical of the hospitality industry and construction sites. How to do nothingUses her camera as “a conscious tool to support the turmoil of the production cycle and the alienation of workers, which is essential to capitalism itself.”
Difference between today and yesterday
In her work, the ferocious work, valued under late capitalism, deliberately interferes with the nature of rest, which is peaceful and therefore economically useless. Albert Camus’s absurdity and the definition of Sisyphos’ myth were important reference points.
In Chapter 2 of her study, Viacava looks at mountain motifs (see Sisyphus myths) and works with colors. By explaining this aspect to his work as “oneiric,” Vicava works with a vague taste that is separate from reality, further freeing him from the rigors of fast-paced life under late capitalism.
Performance, workforce, and tranquility converge on Biakava’s practice as her critique moves away from the socio-economic structure.
In addition to working in a restaurant, Milan-based photographers focus on community-oriented collaborative projects that support Italian artists.
Dream collaborator: ‘Peter Fishli & David Weiss. In their work, they constantly reinvent and rethink the meaning of the objects they take pictures of. Like my work, the structure is almost childish and opens up new interpretations of everyday life. §