Radio Vinci Park, the disturbing scene of modern and underground fears symbolized by Theo Mercier’s motorcycle.
The motorcyclist, helmet and black jacket, is waiting in the shadows of an underground parking. Deserted, of course, late at night. The mechanical figure of an anonymous crime, ultimate fear of the white-collar working overtime, of the bourgeois coming home late after the show. Modern cities have their own legends, bogeymen replicating the evil creatures that inhabited the ancient forests. The Dark Knight is now riding on a bike much more threatening than an old pale nag. We think of the Yakuza gang in Black Rain, even more of Minos and his Z1000 in Peur sur la ville.
Radio Vinci Park’s music doesn’t sound so relaxing anymore, Theo Mercier dismantles the parking company’s communication plan. No, concrete basements are not welcoming, to worry is legitimate. The worst inevitably happens.
No need to camouflage the danger, the roughness and the implacable reality of cities under a white glossy paint (old wine in a new bottle) that gently makes the modern vintage beemers’ tires squeal (fake oldies, brand new things). Appearances never withstand the test of reality. An opportunity I won’t miss to make my point, seeing how much the bikers, like the society that worships images rather than the ability to think, easily succumb to an overdose of vintage. Too much fashion and trends: even though I know critics are easy, they’re also essential. That’s why I respect the artist’s mission, the reason that goes with the aesthetic, the opportunity to disclose to everyone the lying pretense. Either you like the form or not, the message remains.