Packing the artwork and getting ready to go

Tuesday 13th of September 2016

The artwork is ready, the structure, the electronics as well as the screenprinted panels are ready too and have been carefully packaged and they are finally ready to go; I am sending them off today and will use these final days to concentrate on a duo show I am having in London at the Kristin Hjellegjerde’s gallery, with American artist Jeremy Everett, to finalise the coding of the interactive artwork and to prepare for another show I will have while in China, the participation in the Second Triennale of Fiber Art, at the Zhejiang Musum in Hangzhou.

At the same time I am booking the accommodations and taking care of the logistics; other artists and friends who have been to China have already given me some good advice and reminded me of the temporary conditions of all things, social platforms included; I have downloaded WeChat and purchased two different VPN apps accounts in case one fails while I am away.

The MoCA museum will very kindly provide the platform for networking one there; this is my very first time in China and I look forward to using the days available, in order to exploring the local art scene and potential opportunities for expanding my network, in order to make the best out of it.

Fabio Lattanzi Antinori

My practice encompasses sculpture, print, sound, poetry and interactive installations and it attempts to provide an understanding of the process by which notions of belief and the perception of reality are being shaped and shared between the world of corporate systems and the individual. More recently, my artistic research has focused on the world and language of the International Finance, as after all, as Neil MacGregor once defined it, the whole financial system depends on voluntary acts of faith. It is precisely this fictional aspect of money, the co-operational act of agreeing on its value and its consequent moral obligations that derive from such a shared view of reality that drives my interest and artistic production. I incorporate elements of the invisible yet pervasive domain of digital technology and responsive materials in my works, in order to manifest that which is otherwise intangible; coded surfaces and data informed structured so become a tool of investigation of the constant act of negotiation that goes behind the system of information we call tangible reality. My process is often collaborative and research based. From collaborating with RCA graduates in developing an innovative sensor based technology, to working with English and Chinese opera singers to create interactive artworks with a strong choral vocal component, to commissioning data analysts, scientists and a financial astrologer to forecast the value of International Finance markets, to working with an economist and explore ways to re-imagine the market driven society through language and poetry. Selected solo shows comprehend the MoCA Shanghai (2016), Ryder Projects (London, 2016), Museum für angewandte Kunst, (Vienna 2013); selected group shows comprehend the National Museum of Science and Technology (Milan, 2017), the Holon Museum (2017), the Galerie Für Gegenwartskunst (Freiburg 2017), the Odessa Biennale (August 2017), the participation in the Hangzhou Triennial of Fiber Art (Hangzhou, September 2016), the Kaunas Biennale, (2015), PiArtworks Gallery (London 2015), the Guest Projects (London, 2015), New York University (2015), the Museum of Contemporary Cuts (on-line, 2015), the Watermans Arts Centre (London, 2015 and 2014), the V&A London (London, 2014), the Contemporary Art Terminal (Shenzen, 2013) the Open Data Institute (London, 2012). Public collections that have acquired my work include the V&A (London), the Villa Lagarina Civic Museum (Rovereto) and the Crespina Civic Museum (Pisa); private collections include the Open Data Institute (London) and various private collections in Trento, Milan, London and Rome.

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Fabio Lattanzi Antinori