Since the first group exhibition in the late 1980s, Leonardo Pierro has explored different topics that are crucial for understanding the complex relationships between art and aesthetic, religion and politics, consumerism and counterculture. From diptych paintings, showing classical and mythic postmodern subjects to the installations of painted banknotes on coffee jute bags, his work challenges contemporary art critics, by mocking the art system and generating a critical social understandment that meet the public taste.
In the late 1990s, his work is continued featuring the debut of the Spanish artist known as Leon Ignacio Rado. The multidisciplinary cooperation derived from the heterogeneous "détournement" drawn from the situationist movement, has since then been a way of proposing a new artistic perspective. This approach was characterized by featuring paintings combining images taken from the w.w.w. and other mass media, such as newspaper and magazines. The interaction of advertising images creates the bias for more performative and interactive art. The installations can be settled in new environment and site specifics, so to evoke new questions about the importance of art in our society.
      Landmark of these contemporary exploit goes to exemplify interest in bridging the gap between art and counterculture: spanning from the term "crossover" (which refers to a multi-part story, distributed on different parts, which sees characters acting together that normally operate separately) the research reaches a more effecting level.
Ignacio Leon Rado's work is an example of nomadic art, achievable anywhere upon the request of temporary installations that can be performed freely by anyone wishing to exercise the right to express artistic thoughts. Aware of the end of “metanarratives”, to paraphrase Lyotard, the pretext to realize a thought about the future of visual art is feasible everywhere.
      The latest exhibitions are featuring unfinished works, interrupted by the glitch (the typical TV’s malfunction due to the lack of signal), this goes to show that art is vanishing, surpassed by new interests and stimuli. The reduction to psychological and perceptive contrasts of both subjects, the "pixelate" paintings and the glitch strips, covering and deleting the subjects depicted, respond to a new sort of of destabilization of art, the irony of art monumental that loses its symbolism and historical value, becoming anonymous and ambiguous. As in the phenomenon of “picnolessia” described by Paul Virilio, the work of dissolves, loses adherence to reality; the persistence of the image lack of memory is isolated, emptied of meaning; it occupies the space freed from the incessant question that arises: what does it mean? Is it fairly contemporary? The ineffability of meanings gives way to uselessness, to the ostentation of the vacuous. It is cumbersome, inconvenient, waste and dejection of the consumer society.
In “Time Sized” the interest goes back to the reproduction of banknotes, a tribute to A. Warhol and a critic to consumerism, a celebration to the birth in the C. Marx Capital. Due to their expressive nature and the possibility of multiple interpretations, the latest works allow for conversation from a variety of points of view, experiences and different ways of consumerism’s critic. Time sized (2018), fully descripted in the catalogue readable ever-increasing amounts. The role of art is to explore and experience new cultural values, in its economic, political and social aspects.