“They congratulated me on the scent. I swear, I wanted to die.” So Max Papeschi, laughing, says one of the most surreal reactions that were collected during the launch of Eau de Eau, the artistic project that had a refined and disturbing deception: the presentation of a perfume that perfume is not, but only water. A precious water, included in a design bottle with a golden cap, presented as a new luxury scent in an exclusive event in Milan, in the Park Exhibition Space. All this, with attention to the smallest details to be credible and disturbing at the same time.
Eau, ideal and completed by Max Papesk and Arianna Buncic” It is a work of conceptual art that disguises itself as a commercial product To expose – with sharp irony and poetic brightness – the disruptions of our society. The water, a source of life, is presented as a luxury good, status symbol of a dystopian future that seems more and more in the present. “The theme of the water was the one who wanted it,” says Bonucci, “he all started with a sketch that Max had made for the magazine Millennium. The idea was powerful and I insisted that it really became. But not an object, but a real concept, with all the imagination of a coated perfumery campaign “.
Valentinavernia. Photo Roberto Polillo
The result is a compelling project, designed to be perfectly ambiguous. “We kept the deception total. In the beginning, people stopped us to congratulate perfume. Some were genuinely convinced, others probably pretended to make a bad impression. But nobody immediately understood that it was just water. “Papeschi and Bonucci worked as a real creative team:” We had said that we would never work together, not to complicate the relationship … and instead we are here. This is our first fourth project, and it worked precisely because we united our languages. I brought the political and provocative vision, Arianna built a perfectly credible aesthetics “.
The credibility was in fact the key. The Parco room, obtained from a former factory in the Barona area and again converted into the cultural center by the entrepreneur and photographer Roberto Polillowas set up for the occasion as a refined location for the launch of a luxurious scent. Setting up by Quadus lightThe hostesses in blue dress (made by the students of Raffles Milan), the mouillettes to test the scent, the commercial with the dancer Valentina Vernia and the soundtrack of the master Sascha Goetzel: Everything has contributed to making experience to Milanese communication that is happy for communication.
“Our goal was to generate a disorientation. We wanted people to wonder: is it true or is it a spot?” Bonucci explains. “We liked that the work was ambiguous, that it did not immediately reveal. And when the revelation came, nobody got angry: they took it all with pleasure. Even those who had complimented us for a non -existent perfume”.
But Eau de Eau is not just a conceptual game. He brings a political message and a concrete relapse. The collaboration with WAMI Water with a mission, which is committed to the construction of new aqueducts in Nicaragua, It really contributes to dealing with the problem of the scarcity of water. “It would have been hypocritical to talk about water crisis without doing anything. With Wami we have succeeded in concretizing the ethical dedication of the project.”
The bottle itself, made with The collaboration of love therapy, brand founded by Elio Fiorucci, and embellished with a golden cap made by d’Agusta jewelry, It is a perfect metaphor: patinated aesthetics hides an uncomfortable truth. “In our imagination, humanity is on the way to extinction by celebrating with champagne and perfumes … the last remaining water,” says Papeschi. “It’s a paradox, but maybe it will end it.”
The event was compiled by Alisia Viola and Tommaso VencoAnd it’s just the beginning. “This was the kick -off. The idea is to bring Eau the Eau all over the world. We already have contacts, we also want to expose it abroad. Perhaps with an exhibition that is only made of billboards, to spread the message in always new contexts”.
On the table, the accounts of the operation return all returns. “It was a social experiment,” concludes Papeschi. “In a city that was apparently used to, we wanted to see if nobody really noticed the absence of the essential. And that was it. A success? Yes. But also a confirmation of how urgent it is to place the priorities in their place”.
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