"MASCA" is the uncertain etymology of the word mask, and the root refers to something ghostly, black, sooty that settles on the face, and covers it.
The definition of a mask as an object, could be reduced to "fake face”, of different materials, with a human or animal appearance, with an opening for the eyes, nose and mouth", but its multiple purposes leave room for wider and complex interpretations.
Its history is older than all the stories in the world and precedes that of writing, which is why it occupies a place of honor in anthropology studies and museums: the mask speaks of man, even before man spoke .
It is also thanks to the masks that eras and civilizations have been deciphered and distinguished.
The "MASCA" project was born from the idea of projecting into the future what posterity will find about the masks of our time in museums.
A time strongly marked on appearance, aesthetics and beauty, not intended as a value, but as an expression of precise standards of approval.
In line with this thought, the masks of our time could only be cosmetic face masks: masks that for the first time in history are born to be used in intimacy, but which will produce their effects in public, a stage on which it is necessary to show oneself "according to the pre-established order", reciting a "new comedy".
And when the mask is not material, wearing it is a metaphor for altering reality, for cheating, for fiction.
Here the “Masca” project is enriched with this aspect as well.
Authors, taking advantage of a small performance, go to important museums of contemporary art and beyond, and photograph the prints of their photographs of "Masca", using a smartphone capable of geolocating the shots that are now shared online with Google Maps.
Following this operation, Google Maps combines the photos of “Masca” with the photos of the works actually present in the museum, without distinction.
Multiple web users, looking for museums and exhibitions, will be able to admire part of the project, in a sort of permanent exhibition.
With this trick, the authors appropriate a virtual exhibition space, which would hardly have been granted to them, and a visibility that traditional exhibitions do not always achieve.
What emerges is a disguised reality, where the authors in turn wear the mask of "full-blown artists".