Two dogs in one human costume CATAFALQUES 2018
photocopy on off-white 80gsm paper, wood stain, enamel, acrylic, timber, coffee stains on ceramic tiles, Off-White Industrial Belt replica, custom steel canoe kayak D ring, transparent acrylic sheet, stikers

W30 H142 D89.3 cm
LEFT SIDE: handwritten intervention “becoming animal, becoming world” on photocopy of pag.70 of “Built by animals: the natural history of animal architecture” by Michael Hansell 1, plus the left feet of the artist.

FRONT SIDE: printed certification signed by the artist Shezad Dawood on 17th October 2016. The artist states of having shook the hand of Eracle Dartizio on that day.

RIGHT SIDE: handwritten certification signed by the artist Benedict Drew on 16th November 2017. The artist states of having shook the hand of Fabio Dartizio on that day.

1. Hansell, M. (2007) "Built by animals: the natural history of animal architecture". Oxford : Oxford University Press

I'm the ass of the metaphysic CATAFALQUES 2018
inkjet archival media print on hahnemuhle photo rag 310gsm, photocopy on off-white 80gsm paper, wood stain, enamel, acrylic, timber, Off-White Industrial Belt replicas, custom steel canoe kayak D ring, stikers, wax

W90 H144,5 D40 cm
TOP SECTION: 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.

BOTTOM SECTION: stratification of different interventions on pag 60-61 of "Cool Memories” by Jean Baudrillard 1. The facing pages are photocopied once with the left hand, once with the head of the artist.

1. Baudrillard, J. (1990) “Cool memories”. Translated by Chris Turner. London, New York: Verso

Tête à tête CATAFALQUES 2018
inkjet archival media print on hahnemuhle photo rag 310gsm, wood stain, enamel, acrylic, timber, Off-White Industrial Belt replica, custom steel canoe kayak D rings, sticker, wax, icing sugar, Frieze London VIP card 2017

W60 H30,5 D5 cm
LEFT SIDE: collection of handwritten interventions on 15 digital collages printed on common paper (29,2 x 21 cm each)

BACKGROUND: handwritten intervention on pag 22-23 of “Heidegger and the Nazis” 1 by Jeff Collins, photocopied plus the face of the artist.

1. Collins, J. (2000) "Heidegger and the Nazis", Trumpington : Icon

Green puddle CATAFALQUES 2018
inkjet archival media print on hahnemuhle photo rag 310gsm, wood stain, enamel, acrylic, timber, Balenciaga cap replica, Off-White Industrial Belt replicas, custom steel canoe kayak D rings, stickers, wax, chewing gums

duration 00.18.13
W 81 H 310 D149 2018

Japanese sandal CATAFALQUES 2018
photocopy on ivory 120gsm paper, brass chicago screws, wood stain, enamel, acrylic, timber, coffee stains on ceramic tiles, transparent acrylic sheet, stikers

W60 H30,5 D5 cm
LEFT SIDE: collection of handwritten interventions on 15 digital collages printed on common paper (29,2 x 21 cm each)

BACKGROUND: handwritten intervention on pag 22-23 of “Heidegger and the Nazis” 1 by Jeff Collins, photocopied plus the face of the artist.

1. Collins, J. (2000) "Heidegger and the Nazis", Trumpington : Icon

wood stain, enamel, acrylic paint, timber, styrofoam, charcoal beauty masks, sticker, chewing gum, coffee stains on ceramic tiles

W45 H35 D40 cm

Goodbye Cartesio CATAFALQUES 2018
wood stain, enamel, acrylic paint, timber, styrofoam, clear acrylic, LCD monitor, video (color)

duration 00.18.13
W 81 H 310 D149 2018

Goodbye Cartesio CATAFALQUES 2018
mixed media on cardboard, RK Burt Natural Tracing papers 90gsm, brown paper and off-white paper 160gsm; custom wooden clothes pegs, stikers, post-it, sketchbook (custom paperboard cover, saddle stitched bounding, 32 pages)

as installed: W212 cm H254 D4 cm

Goodbye Cartesio CATAFALQUES 2018
clear resin, spray paint, oil pastel, charcoal on founded paper. Black masking tape, photocopies on common paper, stickers

W 210 H 170 D 4 cm

Catafalques 2018

Installation view: Lethaby Gallery, London
variable dimension, max H 350cm
A catafalque is a decorated wooden framework supporting the coffin of a distinguished person in the context of Christian funerals or memorial services. The artworks of this corpus are all characterised by a bulky sculptural display made of stained wood and shiny enamels hosting an heterogenous archive of documented performances, hilarious certificates, stickers, mass-produced objects, luxury clothing replicas and handwritten interventions on photocopies of photocopies of photocopies. This pattern of juxtapositions aims to celebrate the nonlinear, rhizomatic thinking that supports the artist’s activity by evaluating both what makes “sense” and what “doesn’t” and, therefore, questioning the powers that privilege certain knowledge structures upon others. The largest Catafalque is titled Goodbye Cartesio and speaks to Cartesian or Substance dualism, a type of polarity most famously defended by René Descartes that distinguishes between mental and bodily foundation. In other words, it states that the mind can exist outside of the body and, thus, the body cannot think. Substance dualism is a philosophical position compatible with those theologies claiming that immortal souls occupy an independent “realm” of existence apart from the physical world. The colloquial statement “Goodbye Cartesio” expresses the artist’s farewell to the body-mind duality together with the overcoming of doubts and paranoias regarding the “after death” topic. Goodbye Cartesio elevates the reproduction of the shell made by a Difflugia Coronata (an amoeba without brain system) on top of a plinth inspired by the diffraction path drawn by a divergent primary beam. The shell contains the optical illusion of the headless artist dancing and playing with a pink cap, which is a fetish representing all the Enlightenment-inherited fantasies built upon the ideas of “reason” and “unity” (e.g. anthropocentrism, space/time linearity, reason over belief, intellectual experience as ontologically superior to all the rest).

Preuniverse USER MANUAL on going
custom clothes pegs, fake Balenciaga zip bag, inkjet print on off-white paper 100gsm (42 pages)

W30,5 H44,5 D1 cm
First edition of 10 hand-numbered copies.
Freely available soon at PREUNIVERSE.ORG
Copyright © 2018 Fabio Dartizio and the respective authors.
This is an open-access artwork, licensed under a Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this artwork so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. No permission is required from the authors or the publisher. Statutory fair use and other rights are in no way affected by the above.
Read more about the license at CREATIVECOMMONS.ORG

Preuniverse CARTOGRAPHY on going
custom clothes pegs; spray paint, technical pen and marker on post-it and seawhite recycled cartridge paper 80gsm

W108 H78 D1 cm

Preuniverse MOOD BOARDS on going
digital folder containing 4 multylayer files, psd format


Preuniverse FOLDER on going
custom folder containing notes and two drafts of Preuniverse, user manual

W34 H23,5 D1,2 cm

Preuniverse BINDER on going
custom binder containing a collection of 30 project papers

W34 H31,5 D7 cm
The artist’s practice sits within a theoretical model called Preuniverse, which takes the form of a written manifesto. Its purpose is to define a context of working for “the not made yet” and a context of analysis for “the made already” through the means of an initial deprivation of all encyclopedic genrefications made explicit in artistic disciplines by the modern idea of linear history of art. Strongly connected with the New Materialism philosophy, Preuniverse as an artwork would take the form of a website and be accessible online. However, once exhibited, its web content would be translated into electromagnetic waves and spread inside the exhibition space by the action of different sculptural electronic devices. Thus, it would not be possible to physically detect the Preuniverse presence, although its content, translated as electromagnetic waves, would oscillate in the air and pass through the public’s body. This insubstantial and finely violent presence, associated with the individuals’ narrowed sensory condition, is the finest depiction of the artist’s own entanglement with his perished mother and with art, two instances that have been influenced by mechanisms of belief and disbelief throughout the artist’s life.

Sun and flesh 2017
Folkestone Fringe in parallel with the Folkestone Triennal 2017 (UK)

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

Sun and flesh DRAWINGS 2017
charcoal, markers and graphite on folded paper

W108 D78 cm

Sun and flesh SKETCHBOOK 2017
custom paperboard cover, saddle stitched bounding

W29,7 H42 cm, 16 pages

Sun and flesh RESEARCH 2017
custom soft cover, chicago screw bounding, photocopy on off-white 100gsm paper

W51 D30 cm, 17 pages

Space grows young again SUN AND FLESH feat. Maria Fedorova 2018
video (color, audio) duration 00.26.13
Nir Altman Gallery, Munich

Documentary made by Russian and Italian artists based in London about their experience during an art exchange program in Tokyo, where they were working on projects for Folkestone triennial 2017. Thus intertwining Moscow-Milan-London-Tokyo-Folkestone film depicts current tendency of nomadic life style, world’s intersections, paradigm shift of our times, blurring boundaries between different realities, blinking foggy uncertainty of art, artist, art market; life during work and eternal beauty of youth.
A large wooden structure based on designs from ceremonial processions provides the support for a performance involving four bearers, each wearing a specific costume. The dark stained wooden structure has been intentionally aged while the shoulder padding for the bearers refer to Pokemon characters. The procession aims to both celebrate and undermine its apparent function and meaning, deliberately courting confusion and contradiction to create a mixed metaphorical message. “No more art! No more art! But art remains our faith!” is the recited litany during the parade. The litany is the adaption of a verse by the French poet Arthur Rimbaud: “No more gods! No more gods! Man is King, Man is God! But love remains our faith!” (1854-1891). The verse is part of “Soleil et chair” (“Sun and Flesh”), a poem written in May 1870, in which Rimbaud portrays the diversity of life that has disappeared with the rise of Christianity and the abyss that now separates man from nature.

I don't really care if you cry HIS HOLINESS 2017
event specific artwork
digital print on 300gsm paper

edition of 250
W10.3 H14.8 cm
In occasion of the Central Saint Martins’ degree show, the artist modified the standard promotional postcard offered to the students to create an edition of 250 prints. It shows a self-portrait, the caption “The Last Genius on Earth” and his signature on the front. The back, beside the academic institutional details, provides the phone number of a major Gallery based in London, sent to the graphic designer instead of the artist’s personal details.
The artwork is part of the series “His holiness” and is subtitled "I don't really care if you cry". It subtly changes the postcards’ purpose and becomes a tool in the hands of the public itself, which becomes an unsolicited performer causing confusion and absurdity to both the caller and the callee.

His Holiness HIS HOLINESS 2017
event specific artwork
chewing gum, black velvet ring case

W5.5 H4 D5.5 cm
private collection
For the annual Central Saint Martins’ Auction at Lehaby Gallery, in London, the artist presented a chewing gum and orchestrated a fictional competition among collectors. The buyer, among with the chewing gum, received a certificate of authentication containing a quote by the artist Vito Acconci: “Yes, art is so fragile, it only exists because an art world agrees that it exists, because that agrees that certain things have a certain value” 1.

1. Acconci, V. (2003) in H.U. Obrist “Interviews. Vol. 1”; edited by Boutoux, T.; Milan: Edizioni Charta; 45–57

This is propaganda HIS HOLINESS 2018
screen printing on two RK Burt Natural Tracing papers 90gsm, custom wooden clothes pegs

W54 H88 D1 cm
The first Tommy Hilfiger's campaign conceived by George Lois in 1985 has been copyed first and then modified. The original compared the then-unknown Hilfiger with the three American greats: Ralph Lauren, Calvin Klein and Perry Ellis. The three famous artists of the edited version, Jeff Koons, Ai Weiwei and Demian Hirst; have been chosen according to the article "Artist As Brand" (Elephant Magazine, issue 27, summer 2016). The title mirrors Tino Sehgal's artwork, "This is propaganda" (2002, Tate Modern, London).

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

Hey! It's me HIS HOLINESS 2017
oral tradition

The artist asks an audience to stay away of other people’s shadows by not stepping on them. He also invites everyone to spread the rule, giving up part of his own authoritarian position as the maker and leader of the artwork. The artwork playfully delves into the definition of commonplaces and the construction of meanings, power systems, knowledge and rules - even those that look just as irrational as avoiding the other people’s shadows.

His Holiness is a cluster of works including This is propaganda, His Holiness, Hey, it's me and I don't really care if you cry. The artworks tackle various issues relating the art market, dynamics of power, authority formation and detention, success and failure. Most of them depend on the unsolicited collaboration of the public and are conceived around a specific event, such as I don’t really care if you cry, which is also the first piece introducing the figure of The Last Genius on Earth. The Last Genius is a grotesque self-caricature obsessed with luxury brands, synthetic drugs and dating apps.
It is a tool to both demonise and celebrate the western dramatic icon of the genius, which has been mass-constructed throughout the last century on three main traits: being white, male and tormented.

We no longer make history. Ciao! Ciao! 2017
Piaggio Ciao PX (1979), Piaggio Ciao Special (1969), galvanized iron, industrial paint
W314 H210 D140 cm

ph: Anna Turina
The Years of Lead (Italian: Anni di piombo) is a term used for a period of social and political turmoil in Italy that lasted from the late 1960s until the early 1980s, marked by a wave of both left-wing and right-wing incidents of political terrorism. The Piaggio Ciao (“ciao” means "hi" or "bye" in Italian) is a family of vélo-bike produced by the italian motor vehicle manufacturer Piaggio. We no longer make history. Ciao! Ciao! presents two models of Piaggio Ciao, one “Ciao Special” from 1969 and one “Ciao PX” from 1979. The two vehicles are joined together, sharing one wheel.

The solstice of history has been passed! NOVEMBER 2017
urban intervention

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. The misappropriated version of the logo substitutes the word “Future” with “Fuhrer” and it has been sticked in different areas of London. The spontaneous interaction of the public has been photo-documented.

Without noticing, all mankind suddenly left reality! 2017
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;

W66 H178 D75 cm

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:
The video opens with the uncanny fairy tale of a penguin that has fallen for a reindeer. In reaching the mountains, disilluded and desperate, the penguin’s march becomes an emblematic symbol for the artist himself, navigating the world. From the initial absurd love story to the final mosh pit, the fragmented juxtaposition of images, frames and music drives the viewer on a rollercoaster of political distrust, violence, and childish tenderness. Accordingly to the other artworks of the series, Without noticing, all mankind suddenly left reality! wishes to avoid further readings or create new narrations out of current events, but rather gathers disparate file footages in a remix that seems to deconstruct the integrity of the present time and question the linear construction of meaning.

This business of living hypotesis 2017
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
This business of living (The burning brand) is the diary of the Italian poet, novelist, literary critic and translator Cesare Pavese (1908-1950). It was published posthumous in 1952, after the author committed suicide.
My only friend is a group of four artwork realised since November 2016 that uses the means of parody and profanation to unpack the author’s historical awareness, while also facing the general sense of disquiet stemming from it. In witnessing the present, the artist addresses the activities of remembering and foreseeing as possible ways to acknowledge the consequences of “the now”. Each artwork uses either a medium that is commonly deputed to the transmission of big narrations and events - sculpture and video - or ephemeral supports, such as stickers, that are most likely to be transformed by external agents. Except for This business of Living: hypothesis, which references the Italian novelist and critic Cesare Pavese’s diaries, the titles of the remaining works are inspired or taken from "The illusion of the end" (1989) by Jean Baudrillard (translated by Chris Turner, Cambridge: Polity Press, 1994).

The desire to stay in the sun 2016
(formerly titled Distant)
html, css, js codes, 110 Kb, www.distante.biz
display: MacBook Pro (Retina, 15-inch), concrete, square galvanized iron tubes

W37 H118 D25 cm
Alessio Moitre Gallery, Turin
code source by George Payne
Mapping out our solar system, The desire to stay in the sun allows connections to be made between two different planets. As the planets orbit the sun, the maximum distance is maintained while their only connection is revealed through the spirographs.

Supernova (detail) 2016
anticordal aluminium sand casting, electroplate of Cubic Boron Nitride (CBN), transfer print on japanese superorganza, stainless steel pipes.

The astronomical event Supernova occurs during the last stellar evolutionary stages of a star's life, whose destruction is marked by one final explosion. The artwork visually translates the dying star and the sky collapsing.

White firmament 2016
digital transfer print on 100% silk crepe back satin

W500 H140 cm
Casa Museo Boschi Di Stefano, Milan
67 drawings have been processed digitally and printed on a silk drapery. Each drawing is an anthropomorphic abstraction.

White firmament book 2015
technical pen on paper, masking tape

W12,5 H21 D0,9 cm, 72 pages
book of 67 drawings, each drawing is an anthropomorphic abstraction.

Meteorite white 2016
crystal epoxy resin, pigments, carbon pipes, fibreglass

variable dimension, H160cm
Castello dei Conti Amico, Asti, Italy
ph: Nadia Pugliese
The works meteorite are the spatial inversion of an absence. They are made by hitting the ground and translating the created void into clear resin, the resulting object is then exhibited facing the sky, mounted on carbon pipes.

This group of artworks stems from the “Puddle” series and follows the artist’s fascination for the universe, seen as the everchanging and apparently endless place wherein the human finitude resonates, if compared with the ungraspable space surrounding the Earth. However, the astronomical objects evoked by each artwork - planets, meteorites, stars, nebulae - are still ephemeral temporalities taking place on different time scales, thus seeming to tear apart the idea of the infinite. Sometimes, the artist’s interest relies on the interpretation of the astronomical bodies through an exploration of their material properties. This is the case of Supernova or White Firmament. Whereas other works, such as The desire to stay in the sun, try to emphasise the relationship that is founded between two or more celestial bodies, the force of attraction/reaction that they activate and the distance that exist between one another.

Mother, grandmother, aunt 2017
screen printing on Somerset Soft White

70W 100H unframend
1/10 + 1 A.P.

Why did you separate me from the earth? 2016
(formerly titled Puddle, puddles)
sand casting anticorodal aluminum, square galvanized iron tubes, bitumen
ExChiesetta, Polignano A Mare (IT)

variable dimension, H304 cm
courtesy of Museo Pino Pascali
The models of three different puddles have been extracted directly from the ground and then translated into aluminium. One is risen to a height of three metres.

I try to find you, yet you are not here 2016
(formerly used for Puddles, Battaglia Artistic Foundry, Milan, 2014)
lost wax bronze casting

variable dimension
Massimo Carasi Gallery, Milan
ph: Filippo Armellin

exhibition view solo show Death of a star and somewhere else 2016
Museo Francesco Messina, Milan

ph: Emiliano Biondelli
The universe is dying. The skies, too, will disappear after us. Man is more and more conscious of this truth. In the course of centuries he has moved from the belief he was the perpetual centre of the Universe to the consciousness he is instead a little and temporary speck. In our parents’ death we see our own death. And so we are left breathless without that feeling, that great treasure of light and goodness where man’s deep and sincerest good is placed. Fabio Dartizio speaks of all this and of the search for an “elsewhere”, either a refuge or a hope. In St. Sisto’s Church (today Museum Studio Francesco Messina), the artist represents his lay prayer for the modern man, who is more and more conscious of how small he is in front of the Universe, the world and history […] — critical comment by Sabino Maria Frassà, Death of a star and elsewhere, book series The sculpture and its themes curated by Maria Fratelli. Municipality of Milan, Francesco Messina Museum. 2017

Puddles 2015
ceramic plaster, crystal epoxy resin

10 pieces, 7x7x7 cm ca each

Puddles 2014
lost wax bronze casting

variable dimension
Puddles are small pools of rainwater that sit onto a depression. Their reflecting surface is the channel that links together earth and sky. The sky is the place where the artist would look to try answering questions relating the afterlife. The puddle, to which the artworks of this cluster are devoted, thus become the metaphor of the investigation of the otherworldly from the Earth and, at the same time, opens up a whole biographical narration that stems from the artist’s relatives and kinships to describe loss, distance and separation.

Aphorisms 2015
inkjet print on poly-clear film, movable types printing, beech wood frame

W34,6 H48,6 D4 cm
series of 7

Aphorisms 2014
inkjet print on poly-clear film, technical pen on paper, toulipier wood frame

W25 H21 D4 cm
series of 26

Per aspera ad astra 2014
Polyester yarn

ambiental dimension
San Servolo island, Venice
Per Aspera ad Astra is a Latin phrase meaning “through difficulties to the stars”. It involves a positive, bottom-up movement, an ascensional projection that is recreated through the polyester yarns stemming from the ground. The artwork is a tribute to the mother of the artist.

Olly olly oxen free 2013
camping tent, fabric, paper, sports action camera, radio link, projector, diaries
Torre Viscontea, Lecco, Italia

variable dimension
ph: Anna Turina
A tent is set and filled with the artist’s notebooks. The visitors can enter and read the diaries while a camera records the scene. Olly olly oxen free is the attempt to build a shelter and feel at home.
Aphorisms is a series of framed inkjet prints developed on two sections: the first one, at the bottom, is constituted of short written sentences concerning daily life, religion, the absolute, and romance. The second, situated on top of the first, hosts its gestual translation. These works are an attempt of visual poetry that tries to create a personal alphabet following a process of translation from a coded hierarchical alphabet to an abstract and emotional universe of signs, where repetition and obsessioN lead the game.


Copyright © 2018 Fabio Dartizio, designed by Fabio Dartizio. All rights reserved