it is made specifically for a given moment in time. what remains is a residue, or derivatives but not the root of the work.

he draws a story as if he were telling it. so if you look at the final result, you don't understand it, but if you are with him during the "disegnamento" (the process of drawing), you understand everything. in fact, it seems to us that the term "disegnamento" contains in itself, in a very effective way, the idea of drawing and movement together, which cannot be separated when dealing with children, especially the youngest, who draw in a very dynamic way, thinking and tracing figures and images with almost cinematographic techniques, as fast as the mental representations of children, with sequences that narrate while they are drawn.[t. g. gallino]

time represents a specific dimension of our perception... the same physical and physiological facts that are at the origin of our experience of objects... are... processes that last in time. [...] only here we can speak of immediately intuited temporal consciousness, unitary not only with respect to the multiple given simultaneously, but also to the multiple distributed in the temporal flux of experience in action.[mauro antonelli su v. benussi]

... is nothing but the trace left by the disappearance of everything else. the random succession of partial objects and details.[j. baudrillard]

if moved geographically the work loses its cultural value becoming a witness of distance

..// #diffusedstudio
from a site of artistic production the artist’s studio has been transformed into diffused, nomadic sites for encounters, discovery and memory

made specifically for and with a given social group, community: what remains, when the work is disconnected from the social context, is its historicization.

social aesthetics is a work of artist [that] use the symbolic sphere of culture to affect social and political change. [david deitcher]

Rêverie & Ouvre insomnia.>>Z

just a relationship between observers

the spectator is the activator, the interacting element

..//#adaptive
the work is modified by interacting with the human body ... or mind

the spectator is the actor, a character on stage, and central is the experience lived as authentic in itself.

every discovery is both intense and fragile, and can only be rediscovered through the memory of the trace it has left in us: to visit a place for the first time is, in this way, to begin to write it down. ... in a Japanese bouquet of flowers... whatever the symbolic intentions of this construction... the circulation of air is what is produced. one can move the body forward into the interstice of its branches, into the light of its volume, not read it (read its symbolism) but retrace the path of the hand that wrote it. [r. barthes]

hidden from the public_often happens in a thick place: the public dimension is formed only by fetishes.
protecting the timid vitality of the thick place is existential empiricism, shareable with few people, if any. is this solipsism coinciding with the time of the hermit before he returns to the valley from his hermitage?
encountered during the action serendipitous spectators may happen.

if something wants to become an image it is not to last, it is to disappear better[...] the intensity of the image is commensurate with its negation of the real, with the invention of another scene. [j. baudrillard]

we could also call it a natural form: nature in fact creates its forms according to the material, the use, the function, the environment. simple forms like the drop of water or more complicated forms like that of the praying mantis, but all built according to the laws of constructive economy.....so it seems that an exact thing is also beautiful ...[b. munari]

the apparently autonomous, purely aesthetic character of the work is something quite different > not in my intentions. [a. warburg]

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Yes, because there is always something to decipher. Every stage along the way is a single element of a written passage, of a code. It can be said that the works of f’ coincide with the symbols of a code that must be revealed. The aim of the exercise is however greater than the pleasure of inventing a charade and then solving it. Here the aim is to verify the soundness of a virtue which is presumed to be shared by both the artist and the spectator: that which speakers of the Latin language – and still today lawyers- call, with an ambivalent meaning, fides. Fides that is trust. The secrets that are part of the artist’s biography are written on squared paper and are then cut out and reassembled in a different sequence in order to form an irregular geometric design (The Tracce Series). A photograph that is never publicly displayed is broken down into pixels which are then transformed into cubes of coloured wood and arranged in the exhibition area according to their different hues. Anyone who is interested can buy a portion of this work in such a way that the image belongs to everyone even though no-one has ever seen it (Dudy Guard). A cryptic phrase is written by joining together pieces of mirror which reflect each other so that what would otherwise be impossible to read becomes legible (Senza Titolo. Oblio).
Fides that is loyalty. An oval-shaped tree house constructed with clay and straw in the centre of a village and left as a gift to the local community (Tüc as ciamumma dal voti Cosimo). A community of artists and curators has been founded with the aim of rethinking current methods of cultural production giving rise to a collection that experiments the tenability of this new school of thought (Carrozzeria Margot).
Francesco Urbano Ragazzi

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aenean aliquet fringilla sem. Suspendisse sed ligula in ligula suscipit aliquam. Praesent in eros vestibulum mi adipiscing adipiscing. Morbi facilisis. Curabitur ornare consequat nunc. Aenean vel metus. Ut posuere viverra nulla. Aliquam erat volutpat. Pellentesque convallis. Maecenas feugiat, tellus pellentesque pretium posuere, felis lorem euismod felis, eu ornare leo nisi vel felis. Mauris consectetur tortor et purus.

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

it is made specifically for a given moment in time. what remains is a residue, or derivatives but not the root of the work.

he draws a story as if he were telling it. so if you look at the final result, you don't understand it, but if you are with him during the "disegnamento" (the process of drawing), you understand everything. in fact, it seems to us that the term "disegnamento" contains in itself, in a very effective way, the idea of drawing and movement together, which cannot be separated when dealing with children, especially the youngest, who draw in a very dynamic way, thinking and tracing figures and images with almost cinematographic techniques, as fast as the mental representations of children, with sequences that narrate while they are drawn.[t. g. gallino]

time represents a specific dimension of our perception... the same physical and physiological facts that are at the origin of our experience of objects... are... processes that last in time. [...] only here we can speak of immediately intuited temporal consciousness, unitary not only with respect to the multiple given simultaneously, but also to the multiple distributed in the temporal flux of experience in action.[mauro antonelli su v. benussi]

... is nothing but the trace left by the disappearance of everything else. the random succession of partial objects and details.[j. baudrillard]

if moved geographically the work loses its cultural value becoming a witness of distance

..// #diffusedstudio
from a site of artistic production the artist’s studio has been transformed into diffused, nomadic sites for encounters, discovery and memory

made specifically for and with a given social group, community: what remains, when the work is disconnected from the social context, is its historicization.

social aesthetics is a work of artist [that] use the symbolic sphere of culture to affect social and political change. [david deitcher]

Rêverie & Ouvre insomnia.>>Z

just a relationship between observers

the spectator is the activator, the interacting element

..//#adaptive
the work is modified by interacting with the human body ... or mind

the spectator is the actor, a character on stage, and central is the experience lived as authentic in itself.

every discovery is both intense and fragile, and can only be rediscovered through the memory of the trace it has left in us: to visit a place for the first time is, in this way, to begin to write it down. ... in a Japanese bouquet of flowers... whatever the symbolic intentions of this construction... the circulation of air is what is produced. one can move the body forward into the interstice of its branches, into the light of its volume, not read it (read its symbolism) but retrace the path of the hand that wrote it. [r. barthes]

hidden from the public_often happens in a thick place: the public dimension is formed only by fetishes.
protecting the timid vitality of the thick place is existential empiricism, shareable with few people, if any. is this solipsism coinciding with the time of the hermit before he returns to the valley from his hermitage?
encountered during the action serendipitous spectators may happen.

if something wants to become an image it is not to last, it is to disappear better[...] the intensity of the image is commensurate with its negation of the real, with the invention of another scene. [j. baudrillard]

we could also call it a natural form: nature in fact creates its forms according to the material, the use, the function, the environment. simple forms like the drop of water or more complicated forms like that of the praying mantis, but all built according to the laws of constructive economy.....so it seems that an exact thing is also beautiful ...[b. munari]

the apparently autonomous, purely aesthetic character of the work is something quite different > not in my intentions. [a. warburg]

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Yes, because there is always something to decipher. Every stage along the way is a single element of a written passage, of a code. It can be said that the works of f’ coincide with the symbols of a code that must be revealed. The aim of the exercise is however greater than the pleasure of inventing a charade and then solving it. Here the aim is to verify the soundness of a virtue which is presumed to be shared by both the artist and the spectator: that which speakers of the Latin language – and still today lawyers- call, with an ambivalent meaning, fides. Fides that is trust. The secrets that are part of the artist’s biography are written on squared paper and are then cut out and reassembled in a different sequence in order to form an irregular geometric design (The Tracce Series). A photograph that is never publicly displayed is broken down into pixels which are then transformed into cubes of coloured wood and arranged in the exhibition area according to their different hues. Anyone who is interested can buy a portion of this work in such a way that the image belongs to everyone even though no-one has ever seen it (Dudy Guard). A cryptic phrase is written by joining together pieces of mirror which reflect each other so that what would otherwise be impossible to read becomes legible (Senza Titolo. Oblio).
Fides that is loyalty. An oval-shaped tree house constructed with clay and straw in the centre of a village and left as a gift to the local community (Tüc as ciamumma dal voti Cosimo). A community of artists and curators has been founded with the aim of rethinking current methods of cultural production giving rise to a collection that experiments the tenability of this new school of thought (Carrozzeria Margot).
Francesco Urbano Ragazzi

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aenean aliquet fringilla sem. Suspendisse sed ligula in ligula suscipit aliquam. Praesent in eros vestibulum mi adipiscing adipiscing. Morbi facilisis. Curabitur ornare consequat nunc. Aenean vel metus. Ut posuere viverra nulla. Aliquam erat volutpat. Pellentesque convallis. Maecenas feugiat, tellus pellentesque pretium posuere, felis lorem euismod felis, eu ornare leo nisi vel felis. Mauris consectetur tortor et purus.

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene

Morbi tincidunt, dui sit amet facilisis feugiat, odio metus gravida ante, ut pharetra massa metus id nunc. Duis scelerisque molestie turpis. Sed fringilla, massa eget luctus malesuada, metus eros molestie lectus, ut tempus eros massa ut dolor. Aene