Kinkaleri's continual projects are the intermittent prerogative of their operating structure which tries to get a feature by checking the very lucid impossibilities and the least bold mechanics, not as desirable components, maybe rather at the mercy of their own urgencies disputed without an interruption in the sweetest and most arrogant place not corresponding to the performative act in a monumental sense and not even to the spectacular belonging of visual and auditory consumption. The objective and not sentimental obedience has imbued the main initiative dragging into the irregular perimeter the six human fellows as in the subject who alternate made to order projects and self-productions in the circle of circumstances. In a language on the other side of the Adriatic Sea the word kinkaleri designates the knick-knacks and the sign indicates the emporium, the place where one can possibly provide himself with varied products, heterogeneous availabilities of imitation gold rings and medalets, music-cassettes, dressing-gowns, exercise books, ice-creams on a stick, cigarettes, bicycle spare parts, rubber shoes, hairpins decorated with coloured plastic flowerets, batteries, letter-paper, crockery, tools, books, thread needles buttons zips lining, engine oil, hack-saws, sawmills, iron and plastic buckets, cakes of soap, lighter-flints and wicks, shoe-lace, small folding clasp-knives, little puppets, footballs, chewing-gums, pumpink seeds, straw brooms, sheep-wool to card, nail-varnish, underwear, shotgun cartridges, contraceptives, beauty hand-mirrors, television and radio valves, writing and reading service for illiterates, electric-light bulbs, watches, pocket manicure scissors, wooden flutes, decorated pipes, plaster goat head to set on the outside of the housewall, spring-catches, winches, perfumes, distempers, antiseptic plaster, geographic maps, furry doggies as nick-nack on the television set, and other countless quantities of products to be found according to the period, the stock, the storehouse, the demand, the offer, the state of the market, the arrival of the ships, the customs formalities, the production in the different regions, the imagination and the inventiveness of the crafts-men, the acquisitiveness of raw materials, the electric power and the water, the time of the day, the season, the skill of finding out from the heap.
That name allured us conceptually both for the intrinsic beauty of the closeness of the letters making it up and the consequent phonetic result, and for the immediate function of depauperation towards the artistic products deriving from the hands kinkaleri who inevitably and automatically would have realised nothing but knick-knacks, odds and ends, and for the ideal of emporium, open container for the whole series of activities that the grouping of formats and means balancing in the attempt would have felt the need to get closer and in touch with: performances, installations, mises en espaces, publishing, radiodramas, musical composition, translations into and from foreign languages, tailoring projects, photographic services, treatment and configuration of other people's materials, video and cinema realisations, scenographic and setting constructions, reviews and festivals organisations, ambient scoring, direction of audio recording studios, et cetera. Kinkaleri's settings are not the field of action for the recitation of the movement and are not the scenographic wardrobe for the movement of the recitation: they are combustion apparatus. The definition of the artistic line and the detailed directions about the poetic necessities cannot be inferred, but with a macroscope set by the user on the best-loved lens and pointed on the consistence of the famous three hundred and sixty degrees minus a few, without a litmus paper.