Beyond meanings. Symbiosis and metamorphosis in the arts chase and mirror each other's

The artistic works expressed through the actions -drawing, painting, sculpting, but also sewing, photographing, making films, writing, crossing deserts - define its limits or the potential not for the type of action performed but through the ability to render the action like a text, that is, to give rise to a meaning (Vettese, 2015). The central knot of the avant-garde of the twentieth century was to free the "mediums" to open up to the multiplicity of means and expressive channels. Architecture, a kaleidoscope of the arts, is transformed into a terminal generated and regenerated, surprising, hyperbolic visions and news (Celant 2004).  However, in a context in which the work of art risks being ignored, the idea's implementation must lead to a practical device; the work of art exists when it becomes a generator of meaning. Rosalind Krauss supported the supremacy of the project over the execution, also releasing it from the hypothesis of making a device. Therefore, the artwork would ignore any external rules but continue to exist as a design and a significant fact. Mixing means and languages ​​over time, the project that is an expression of meaning explores the changes in the physical and social space that generated it and worked with the desire to change the present. Within disruptive and inexorable modernity since the beginning of the twentieth century, critical points of view appear on the landscapes of the contemporary post-metropolis.  On the one hand, works such as Canaletto's intriguing Capriccio or the subversive visions of landscapes by Malevich, El Lissitzky, Ivan Leonidov, the collages by Mies Van Der Rohe, Lingeri and Terragni, the interiors of Figini and Pollini (Rosellini 2019) up to the creative universe of Giò Ponti, constitute precious texts that tell about “similar” cities. Practical works in which the arts chase each other and mirror each other, in which it is possible to read the expression of a thought in which the architectural space participates. On the other hand, a critical point of view is thrown towards the hyperrealism of renderings, the perfection of digital images that do not transmit principles or communicate the designer's idea but persuade the observer (or client) of the result's validity. The reflection focuses not on the image market but on the relationship between images and consciousness, between image and the degree of awareness of architectural action as an artistic practice (Gregotti 1991). The arts have never ceased to represent autonomous works, emblems of that sort of clash against the most deeply rooted convictions and beliefs. Some works of art are the manifesto of timeless relevance made by characters outside the clichés within hopeless scenarios, weaving disturbing but perfectly contemporary collages. Against the background of the torn peripheries of globalised metropolitan territories, today's acid elements combine following a highly fragmented logical flow, disorienting the cut of the public linked to a conventional plot. Ultimately, the only possible meaning to be grasped in these cases is that there is no meaning.