To understand the works of K. we must take a step back. It must be considered that the artist’s intervention on the ordinary object of manufacture converts it into an antidote to retinal art.
Thus, Duchamp’s readymade violently enters the aesthetics of K., which recovers the elements at the base of Dadaism, selects them and transforms them into the keystone for Parabellum.
In a parade of images and symbols of everyday life, the artist puts us before the emptiness and superficiality of existence.
Instruments of violence, weapons, macabre wrecks become elegant trappings of everyday life.
Every object taken from its context and relocated to a new environment is a work of art.
Do we ever really stop to reflect on the TV news images that parade before our eyes?
What is that morbid desire to know the details of every murder, every retaliation? Are we ever really interested in what’s going on around us? Or is it, after all, nothing more than vanity to let evil and the rot of the world enter our homes?
It makes us strong, proud to be able to turn off the TV at any time and bask in the luxury of, albeit relative, serenity.
So art, like the veil of Maya, wraps the man in a warm blanket and the viewer will have to choose whether to stay safe or cross the veil and accept the inevitable and permanent truth: conflict, evil and violence are an integral and permanent part of civilisation and human beings themselves.
Only in this way can we all finally find peace: si vis pacem para bellum.