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The work challenges advertising’s promise to unite desire and reality, making the montage of education, eroticism and product the place where personal experience appears already organised by a media code. In the Advertising series, Zampogna does not oppose authentic existence to a commercial image that deforms it from outside. Instead, he brings the two registers to the same scale and makes each legible through the other: the concentration associated with the seated figure and the abandon of the embrace both belong to readily available visual repertoires. The reference to Pirelli thus introduces a mythology of consumption in which grip, movement and possession can migrate from tyre to body.

The two-part structure does not construct a sequence, but a threshold without narrative development. On the left, the isolated figure at the table still preserves the idea of an interior life, yet the monochrome treatment consigns it to the same impersonal distance as a reproduced image. On the right, the emphatic embrace presents desire as a pose, while the tyre print on the back converts skin into a surface already traversed by the brand. The three treads below do not simply illustrate the product. In serial form, they repeat what the contact between the bodies promises in affective form: grip, adhesion and duration. The break between the two sheets prevents these meanings from recomposing themselves into a unified scene.

The work occupies a decisive point in the artist’s enquiry into “real reality” and “media reality”: advertising no longer appears as a window added to the world, but as a grammar capable of distributing gestures, identities and desires. Even what seems most private, study, memory and physical intimacy, is exposed to the circulation of signs. The work does not merely denounce the commodification of the body. It reveals a more ambiguous condition in which the product acquires emotional qualities while lived experience assumes the compactness of a promotional image. What remains for the viewer is an unresolved relationship between the two parts: not a passage from innocence to desire, but the recognition that both conditions can be manufactured by the same regime of visibility.