Vincenzo Fiore Marrese

The artwork explores the topic of "critical resources". Critical resources are vital materials for the community that one can't easily replace with technology^[1]. In addition, these materials often come from a few suppliers. This topic highlights work conditions within countries that provide this kind of material.

For instance, it concerns those providing minerals for batteries.

The worldwide movement of materials is fragmented. Because of this, comprehending a joint effort similar to the Green Transition, which strongly depends on essential resources, is challenging. Scholars can play a role in helping the understanding of this complexity, promoting critical thinking. At the same time, artists bring creativity and a fresh point of view, raising awareness of these issues.

The artwork combines the idea of 'critical resources' with the topic of 'journey' to add a creative perspective. Consequently, the title, "Critical Journey," reflects the intersection of these two key themes. The artwork's location inspired the idea of a 'journey'.

The location is the Adlerhalle in Berlin, a previous auto workshop of the Adler car company. The Adler company is related to a story. In 1902, three individuals started on a journey from Berlin to Italy with an early Adler model car and documented their adventures in the first book of its kind in Germany. In particular, the car body was a Phaethon, the Greek name for the son of the Sun.

The artwork format is an 'art environment' made by found, bought and built objects. The objects define an area within the exhibition location. However, this area remains visually open, like an environment. Furthermore, this format aims to foster a dialogue with other artworks displayed in the location.

For instance, a dialogue emerges when an artist intentionally adapts their work, preserving its essence, in response to other artworks.

One can think of it like an apple taking various forms while always staying an apple. In particular, adaptations begin during setup and may continue throughout the exhibition.

Likewise, the size of the exhibition space will bring the idea of a geographic space to explore. Other artworks' presence will make the exploration resemble a journey, one of the work's threads.

The natural fragility of artworks poses a challenge that restoration and documentation aim to address. Nevertheless, the concept of adaptations will transform this obstacle into a chance. This idea can lead us toward a perspective of 'collective intelligence,' drawing inspiration from experts like Geoff Mulgan^[2].