Sun and flesh
Folkestone Fringe in parallel with the Folkestone Triennal 2017

costumes: Fabio Dartizio, Maria Fedorova
haircut: Fabio Dartizio, Fella Folkestone®
makeup: Laska®
performers: Andrés Cacho, Fabio Dartizio, Kang Gao, Zhang Quing, Kazuki Mabuchi

©Global Art Joint Project 2017 between Central Saint Martins, University of the Arts London and Tokyo University of the Arts
No more gods! No more gods! Man is king! Man is God! But love remains our Faith!—Rimbaud, A. (1870) Sun and flesh

This business of living, hypotesis
Peppa Pig boots, toy arrows, Ipad Mini (7.9 inch)—00.00.15 video loop, powerbank, book (P.P. Pasolini, Petrolio, edition: Oscar Scrittori Moderni, Mondadori, 2005)
variable dimension

ph: Theresa Goessmann
motion graphic: Fabio Dartizio, Enrico Zavatta
It had to happen to you, to concentrate your whole life on one point, and then discover that you can do anything except live at that point—Pavese, C. This Business of Living: Diaries 1935-1950

Segalen says that on an Earth become a sphere, every movement distancing us from a point also brings us closer to that same point. This is true with respect to time as well. Every noticeable movement of history brings us imperceptibly closer to its antipode, indeed to its point of departure. This is the end of linearity. Viewed from this perspective, the future no longer exists. And if there is no future, neither is there an end anymore.— Baudrillard, J. (1989) The Illusion of the End, Stanford University Press.

We no longer make history, ciao ciao!
Piaggio Ciao PX (1979), Piaggio Ciao Special (1969), galvanized iron, industrial paint
314 x 210 x 140 cm

ph: Anna Turina
The beam of memory bends, and makes every event a black hole. We experience this subjectively too, in the sudden loss of our memories, the break in the continuity of names, faces and familiar forms. In this kind of catastrophic memory failure, there is neither natural forgetting nor unconscious repression. It is the inversion of the temporal field of gravity which means that the signs of the past no longer have sufficient specific mass, sufficient nuclear mass to hold them, nor the mirror of the present enough to reflect them. — Baudrillard, J. (1989) The Illusion of the End, Stanford University Press.

The solstice of history has been passed
ink jet print on gloss adhesive paper

The solstice of history has been passed is a sticker made by manipulating the logo of Back to the future, an American science fiction–comedy film series, released in 1985 ,1989 and 1990.

Entire peoples are rushing towards a “historical” objective of liberty which no longer exists at all in the form in which they imagine it, towards a form of “democratic” representation which has also long been dying from spleculation (the statistical spleculation of the opinion pools, the media speculation of the news). The democratic illusion is universal, linked as it is to the zero degree of civic energy. All we have left of liberty is an ad-man’s illusion, that it, the zero degree of the idea, and it is this which sets the tone for our liberal regime of human rights. — Baudrillard, J. (1989) The Illusion of the End, Stanford University Press.

This is propaganda
screen printing on kent edition 190gsm paper, 1/10
84 x 118 cm

This is propaganda is the re-appropriation of the first Tommy Hilfiger's campaign conceived by George Lois in 1985. The billboard was posted in the heart of Manhattan theatreland and it compared the then-unknown Hilfiger with the three American greats: Ralph Lauren, Calvin Klein and Perry Ellis. The campaign gave massive visibility to the new American stylist and an angry Calvin Klein went up to George Lois saying: “Do you know it took me 20 years to get where Hilfiger is today?”. Lois responded: “Schmuck! Why take 20 years when you can do it in 20 days?”. The three famous artists are chosen according to the article Artist As Brand (Elephant Magazine, issue 27, summer 2016).
The title is the same of Tino Sehgal's artwork, This is propaganda (2002, Tate Modern).

Hey! It's me
oral tradition

It is strictly prohibited stepping on other people's shadows.

I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasm. I am a man of substance, of flash and bone, fiber and liquids - and I might even be said to posses a mind. I am invisible, understand, simply because people refuse to see me. — Ellison, R. (1989) Invisible Man, 7. Harmondsworth: penguin.

Without noticing, all mankind suddenly left reality
video loop, color, audio, duration 00.03.56
display: stainless steel round bar, autoclaved aerated concrete, Panasonic Box Monitor 9 inch (WV-CM1000/B), Sony DVD Player (DVP-SR170), Stereo Phono Audio to HDMI Converter, HDMI transmitter; 178x66x75cm

audio sources in order of appearance:
Jamil (2017) Noyz Diss
Pipilotti, R. (1995) I'm Α Victim Of This Song
Rezza, A. (2011) Basta Cani, text by Nanni Balestrini, music by Gianluca Ruggieri
Bodylotion (1998) How Much Can You Take
Joy Division (1990) Love Will Tear Us Apart

video sources in order of appearance:
Herzog, W. (2009) Encounters at the End of the World
Scorsese, M. (2014) The wolf of wall street
Cowell, S. (2011) Arabs got talent

media outlets:

I'm the ass of the metaphysics

Fabio Dartizio at age 24 licking Il poeta e il pittore, by Giorgio de Chirico (1975), exhibited at Giorgio De Chirico and the mysterious object, Reggia di Monza — Serrone della Villa Reale, September 2014.

Modernism aspires to the Sublime as to its very essence, which we may call trans-aesthetic, insofar as it lays a claim to the Absolute, that is, it believes that in order to be art at all, art must be something beyond art. […]. It is the Beautiful that comes to an end in this significant event, but what takes its place is finally not philosophy, but rather the Sublime itself, or in other words the aesthetic of the modern or the transaesth­etic if you prefer. […] But if you have been willing to go this far, perhaps you will be prepared to take another step further, or rather a leap, into our own time, or rather our own yesterday, of the 1960s and the happenings, and that particular contemporary 'end of art', to which it is time to return. Now, however, I think that we are in a better position to identify this particular 'end of something': it can only be the end of the modern itself, or in other words the end of the Sublime, the dissolution of art's vocation to reach the Absolute. […] But if you think of the dissolution of the modern as a lengthy cultural process, which began in the 1960s, and whose 1980s' unveiling as a new gilded age does not perhaps give us its final word either, then other conjectures and historical interpretations seem possible as well. — Jameson, F. (1998). The Cultural Turn, selected writing on the postmodern 1983—1998, End of art or end of history?. London, New York: Verso.

It is in the absolute void that the absolute event occurs
urban intervention
240 High Holborn, London WC1V, United Kingdom
latitude: 51.517575, longitude: -0.118923

A puddle has been highlighted using food coloring.

[my philosophy] is not trying to reveal things that have been deeply buried, hidden, forgotten for centuries or millennia, nor of discovering, behind what’s been said by others, the secret they wished to hide […] [it is] simply trying to make apparent what is very immediately present and at the same time invisible […] To grasp that invisibility, that invisible of the too visibile, that distancing of what is too close, that unknown familiarity. — Foucault, Michel. Speech Begins After Death, 70-71. Edited by Phillipe Artieres. Translated by Robert Bononno. Minneapolis: university of Minnesota Press, 2013

Pre—universe manifesto
psd files, 553,7Mb

I try to find you, yet you are not here (formerly used for Puddles, Battaglia Artistic Foundry, Milan, 2014)
lost wax bronze casting
variable dimension
installation view: group exhibition Passengers, Massimo Carasi Gallery, Milan

ph: Filippo Armellin
I try to find you, yet you are not here is a constellation of puddles, a subject of interest set out in late 2013 in order to epitomise the urban morphology of the periphery of Milan.

Why did you separate me from the earth? (formerly titled Puddle, puddles)
sand casting anticorodal aluminum, square galvanized iron tubes, bitumen
variable dimension, h.304 cm
installation view: group exhibition 9 Faces, Tevere Art Gallery, Rome.

The desire to stay in the sun (formerly titled Distant)
html, css, js codes, 110 Kb,
display: MacBook Pro (Retina, 15-inch), concrete, square galvanized iron tubes
37 x 118 x 25 cm
installation view: solo exhibition Distante, Alessio Moitre Gallery, Turin

The desire to stay in the sun is a web-site. It permits to select two planets and see the layout their distance draws. This clear separation is the maximum distance between two elements and at the same time also the only possible link.

Supernova, detail ed1/2
anticordal aluminium sand casting, electroplate of Cubic Boron Nitride (CBN), transfer print on japanese superorganza, stainless steel pipes.

exhibition view solo show Death of a star and somewhere else
Francesco Messina Museum, Milan

ph: Emiliano Biondelli

White meteorite
crystal epoxy resin, pigments, carbon pipes, fibreglass
variable dimension, h.160cm
37 x 118 x 25 cm
installation view: group exhibition Innaturalia, Castello dei Conti Amico, Asti, Italy

ph: Nadia Pugliese

ceramic plaster, crystal epoxy resin
10 pieces, 7x7x7 cm ca each

White firmament
digital transfer print on 100% silk crepe back satin
500x140 cm
installation view: Boschi Di Stefano Museum-Home, Milan

Per aspera ad astra
Polyester yarn
ambiental dimension
installation view: Open17, San Servolo island, Venice

lost wax bronze casting
variable dimension

Olly olly oxen free
camping tent, fabric, paper, sports action camera, radio link, projector, diaries
installation view: Art21, Torre Viscontea, Lecco, Italia

ph: Anna Turina
Copyright © 2017 Fabio Dartizio, designed by Fabio Dartizio. All rights reserved