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La rovescia al conto (Down to the count) is not a work, but a process in which the artists compose and break down their own practice, which winds between text, installation and video to reach a new structure, the totem that in addition to taking inspiration from the initial text, draws inspiration from external references: Jodowsky’s dream act, Piero della Francesca’s Sogno di Costantino and Patty Smith’s album Banga. 

Orecchie D’Asino, La rovescia al conto, video installation,

Palazzo del Governatore, Parma (IT), 2021

Following the process that characterizes Orecchie D'Asino's relationship with the image, the composition of La rovescia al conto is shattered inside a totem which, by collecting objects and quotations, is proposed as a reflection of the artistic and generative practice. Where is loceted the initiatory dimension within the image? What gives rise to the series of connections that leads from one image to another? The artists multiply the questions in the gaze of the observer, metaphorically suggesting the constant question: which came first, the hen or the egg? Maybe the goose. 

Orecchie D’Asino, La rovescia al conto, totem and details,

Ducato Price, Livorno (IT), 2020

La rovescia al conto (Down to the count) continues the research of Orecchie D'Asino who, moving between logos and mythos, formalize the project as a process than a work constituted in itself. Within La rovescia al conto, the pandemic context returns, hinted and left as the beginning for a new dream towards a digression that seeks to pursue the very core of dreams. To grasp this theme are the various references that Orecchie D'Asino traces both visually and textually: a reinterpretation of the Il sogno di Costantino by Piero della Francesca re-emerges in the video, while the voices of Pier Paolo Pasolini, Patti Smith, Eugen Gomringer, Alejandro Jodorowsky and those of the artists themselves. The constant references of questions and half-answers, at the basis of this schizophrenic dialogue, seem to be the only approach to the indefinite matter of dreams and of a reality in the process of deconstruction. 

Orecchie D’Asino, La rovescia al conto, stage and details, Modena  (IT), 2020

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