ROBERT DRAGOT, AT THE 53RD INTERNATIONAL ART EXHIBITION, LA BIENNALE DI VENEZIA, June 7-September 30, 2009. A COLLATERAL EVENT. A new video installation "The "6080K310i" at the 53rd. Venice Biennale Official Collateral Events in Forte Marghera Krossing "Immaginodromo" Via Forte Marghera 30, Venezia Mestre. Curated by Andrea Bonifacio and Orsola Casagrande. The "6080K310i" installation is based in the reconstruction situations modeled from the videos posted on YouTube. The characters in the original videos were removed from their context and viewed in a new one. Through the mechanism of reconstruction of the violent situation, the abuses and human excesses are even more strengthened put into isolation. Thus, the original videos (if we return) may prove rather fiction instead of reality and the videos capture this dose of troubled reality .. Reconstruction (fiction by the artist), and reality (video posted on YouTube) are thus in this way blurred. The fiction and reality start to uncover the strategies often very subtle to construct and deconstruct a "truth" and often hide or in the most striking case, justify the violence. How to deal with violence and where to place? Often the video or "evidences" of violence and injustice posted on YouTube are anonymous and try to share and abuse, which construct a kind of theater of public execution where the spectator becomes a silent witness. The testimonials are everywhere, the camera has become increasingly nomadic and hidden, which makes the abuses almost always public almost real time or some time after a while Videos of sexual abuse, humiliation (in the police offices, for example), ootages of a tortured young man, brutality in detention centers in the video clips filmed by the mobile phones of the cops themselves , (and therefore considered as kinds of trophies) are the result of this powerful mixture of the mobile technology and the digital distribution. Technology that does not take any side, because it can now turn in the moment against those who manipulated it The paintings on the other hand, tends to fix in the image the people who films these situations with the mobiles. therefore we are final witnesses of the end of a contemporary drama already repressed in a dark past and uncomfortable, a perspective of guiltiness and a testimony fixed in itself... The painting which are recreated based on digital images (taken with a mobile phone) are "inflated" receive a "macro" treatment, almost surgical .. thus in the limit of the unsupportable