Portfolio of twelve serigraphs, justified 13/100 and signed in pencil, with text by Antonio de Lorenzo. Presented in a folder with a print run justification sheet. Published by Grupo Quince, Madrid. Dimensions: 48 x 58 cm each.
Fabrizio Plessi Untitled 2000 colour lithography on thin cardboard; unframed 69.7 x 99.5 cm inscribed by hand on the lower left: Prova d'artista signed and dated by hand on the lower right: Plessi, 2000 Artist's Resale Rights Applies differential taxation
Fabrizio Plessi VHS-Monitor 1986 mixed media on paper; framed 31.7 x 24 cm inscribed on the lower left: VHS-Monitor signed and dated on the lower right: Plessi, 86 dedicated Artist's Resale Rights Applies differential taxation
mixed media on painted wooden board cm 70 x 100 Dated upper left: Azione 1975 PROVENANCE Milan, Vinciana Gallery (label on the reverse); Giulianova, Sandro Brandimarte collection LITERATURE Photo certificate issued by the Artist
FABRIZIO PLESSI (Reggio Emilia, 1940). "C'as Concos", 1989. Oil on canvas. Signed and dated in the lower right corner. With label on the back of Estudio de Arte Contemporaneo Joan Guaita. Bibliography: - "Fabrizio Plessi. Bombai-Bombai. Una videoinstal-lació i cent dibuixos (1976-1992). Joan Miró Foundation. 1994. -BONITO OLIVA, A.; CALABRESE, O. "Plessi". Edizione Canova, Comune di Reggio Emilia. 1990. Measurements: 190 x 152 cm. The series "C'as Concos" consists of works on paper and canvas created by Plessi in that Majorcan town. Although most of them are directly linked to the video sculptures "Armadi della memoria" (1990) and function as sketches, studies and variations of these, they also have an artistic value of their own. Unlike the "Armadi", which always maintain a quadripartite structure, in "C'as Concos" the artist experiments freely with the number of compartments, reducing or enlarging them to study compositions, light and chromatic effects from a totally pictorial approach. For this reason, this series should not be seen only as preparatory material, but as an autonomous set within his production. The "Armadi della memoria" can be understood both individually and collectively. Each piece acts as a memory box where Plessi summarizes ideas and works from previous stages, almost like a visual diary or a personal system of mnemonic notes. As a whole, the series provides access to the artist's symbolic universe and functions as a way of preserving and classifying his own creative memory. Its structure is repeated: metal boxes with doors that change according to the position of the viewer, four video screens above and four niches below. This duality symbolizes the two constant elements in his work: video as simulation and real materials in dialogue with it. In each cabinet Plessi's essential themes reappear: the boundaries between public/private, singular/multiple, the codification of memory, and the conflict between the technological and the material. Fabrizio Plessi, a pioneer of video art in Italy, explores the relationship between natural reality and technological visuality, creating works that question perception, identity and illusion. Trained and later taught at the Academy of Fine Arts in Venice, he developed since the late sixties an international career with recurrent participation in the Venice Biennale, performances, video installations and video sculptures. In the eighties and nineties he consolidated his prestige with exhibitions in institutions such as the Centre Pompidou, the Kassel documenta, the Miró Foundation and the Guggenheim in New York. His work is present in numerous museums and international collections.
Fabrizio Plessi, Italian b.1940 - Digital Boat, 2011; video installation with sound in a wooden boat, H33.5 x W340 x D81.5 cm (ARR) Note: This is work is available for viewing by appointment only. It is the buyer's responsibility to ensure electrical items are professionally rewired for use. In 2011, Plessi exhibited in the newly renovated Venice Pavilion for the 54th Venice Biennale, creating screens that projected streams of water and installed on boats exposed in a vertical position, in a similar work to the present lot. Similar works were also exhibited at the Ludwig Museum - Museum of Contemporary Art, Budapest in a solo exhibition entitled 'Lyquid Labyrinth' in 2015. Since the 1960s, Plessi has been a pioneer of video art, with fire and water as central themes to his work.
FABRIZIO PLESSI 1940 Concert video performance, 1977 Tecnica mista, collage su cartoncino cm. 50x65 Firma e data al fronte Autentica dell'artista su fotografia PROVENIENZA Collezione privata, Milano
PLESSI FABRIZIO (n. 1940). LOT COMPOSED OF N.3 ARTWORKS. NEON OBJECT DESIGN FOR BRASS FAUCET AND COLORED NEON TUBE, 1970 signature, date, and title DIVE PROJECT, 1970 signature, date, and title 16MM 14-MINUTE FILM DESIGN, 1969 signature, date, and title Each drawing is accompanied by an artist's certificate of authenticity on a photograph. 42 x 29,70 cm.
* Fabrizio Plessi Mose Table Marbre Bianco Puro, Bardiglio et Azul Macaubas brossé Edition Cleto Munari Signée Date de création : 2022 H74 L300 P120 cm Fabrizio Plessi (Reggio Emilia, 1940) studied at the Accademia di Belle Arti in Venice where he eventually taught for many ye- ars. Using videos as his artistic outlet, he traced an innovative path that made him famous worldwide. He was co-founder of the Kunsthochschule für Medien in Köln, where he taught ‘Umaniz- zazione delle Tecnologie e Scenografia Elettronica’. His installa- tion ‘Bombay-Bombay’ at the Ludwig Museum of Köln is famous. He took part in 14 editions of the Venice Biennial from 1970 to 2011 with Mari Verticali at the Padiglione Venezia. In Italy he was awarded at the Quadriennale of Rome in 1999. That same year, the Hannover Kestner Gesellschaft granted him an NLB award as Best Artist of the Year. In 2002 his anthology Paradise/Hell was exhibited at the Scuderie del Quirinale in Rome. Ha realized more than 500 personal exhibits in many of the most important museu- ms worldwide, such as the Centre Pompidou in Paris (1982), the NY Guggenheim (1998), the San Diego Museum of Contemporary Art (1998), the Bilbao Guggenheim (2001). He was part of the Kassel Documenta VIII in 1987 with his renowned installation ‘Roma’. In 2003 he exhibited an anthological work at the Berlin Martin Gropius Bau. Again in Berlin, he realized a huge installa- tion for the Sony Center in Potzsdammer Platz. He collaborated with the most important Austrian museums, such as the Kunshi- storiche, the Ludwig, and the Neue Galerie of Linz. Even emerging countries find Plessi an important art representative, as when he took part in the opening of the new Contemporary Art Museum of Rabat in 2006. He was a Special Guest at many Biennials, as in Cairo in 2001, in Sharjah, Saõ Paulo, and in Gwangju, Korea, in 2000. Fabrizio Plessi has been collaborating with the Louis Vuitton Group since 2008, putting his art at the renowned French Mai- son’s service, as for the America’s Cup. He worked with major companies, such as BMW, Dornbracht, Loewe, Swarovski, Calvin Klein, and with many intellectuals and musicians, among whom Robert Wilson, Philip Glass, and Michael Nyman. His electronic set designs for Luciano Pavarotti’s concert at Central Park, NY in 1993 remain unforgettable. His latest installation, ‘Monumenta ad Agrigento’, was realized within the Temple Valley. On June 2, 2013, his work opened the Plessi Museum at the Passo del Bren- nero, where today a permanent exhibition is on display. His work is the first Italian example of Highway Museum Space. Presently, Fabrizio Plessi lives and works between Venice and Mallorca. The table named Mose and designed by artist Fabrizio Plessi is a perfect example of the stylistic evolution of its author, constantly driven between light and matter with a strong edge of metaphy- sical allusions aimed at the “liquid modernity” he treasures so much, a metaphoric representation of water - his most personal expressive trait. In its representation, Mose is an overturned table, and has thus lost its identity. Yet, thanks to this choice, it can interact emotio- nally with any space at all. As suggested by its name, Mose poses a different interpretation of a traditionally and culturally static object, which generally is the center of something for function and functionality. Here, all possible definitions are symbolically overturned and, from the name to the shape, the table becomes an unusual, malleable and adaptable piece of furniture. It can be said that this table designed by Fabrizio Plessi and made in the workshop of marble craftsman Piero Zanella using stones extracted from the quarries of Bianco Puro, Bardiglio and Azul Macaubas with it two supports at the perimeter corners, is a new table for many reasons, not least that of leading the final user to an unconditional pleasure for the aesthetics of a living, here a true overturn of beliefs. After all, the expression “to overturn the table” embodies an act of defiance and rebellion against pre-e- stablished logics. To become pure art. * Fabrizio Plessi Mose Table Brushed Bianco Puro, Bardiglio and Azul Macaubas marble Edition Cleto Munari Signed Creation date: 2022 H74 W300 D120 cm Fabrizio Plessi (Reggio Emilia, 1940) studied at the Accademia di Belle Arti in Venice where he eventually taught for many ye- ars. Using videos as his artistic outlet, he traced an innovative path that made him famous worldwide. He was co-founder of the Kunsthochschule für Medien in Köln, where he taught 'Umaniz- zazione delle Tecnologie e Scenografia Elettronica'. His installa- tion 'Bombay-Bombay' at the Ludwig Museum of Köln is famous. He took part in 14 editions of the Venice Biennial from 1970 to 2011 with Mari Verticali at the Padiglione Venezia. In Italy he was awarded at the Quadriennale of Rome in 1999. That same year, the Hannover Kestner Gesellschaft granted him an NLB award as Best Artist of the Year. In 2002 his anthology Paradise/Hell was exhibited at the Scuderie del Quirinale in Rome. Ha realized more than 500 personal exhibits in many of the most important museu- ms worldwide, such as the Centre Pompidou in Paris (1982), the NY Guggenheim (1998), the San Diego Museum of Contemporary Art (1998), the Bilbao Guggenheim (2001). He was part of the Kassel Documenta VIII in 1987 with his renowned installation Roma'. In 2003 he exhibited an anthological work at the Berlin Martin Gropius Bau. Again in Berlin, he realized a huge installa- tion for the Sony Center in Potzsdammer Platz. He collaborated with the most important Austrian museums, such as the Kunshi- storiche, the Ludwig, and the Neue Galerie of Linz. Even emerging countries find Plessi an important art representative, as when he took part in the opening of the new Contemporary Art Museum of Rabat in 2006. He was a Special Guest at many Biennials, as in Cairo in 2001, in Sharjah, Saõ Paulo, and in Gwangju, Korea, in 2000. Fabrizio Plessi has been collaborating with the Louis Vuitton Group since 2008, putting his art at the renowned French Mai- son's service, as for the America's Cup. He worked with major companies, such as BMW, Dornbracht, Loewe, Swarovski, Calvin Klein, and with many intellectuals and musicians, among whom Robert Wilson, Philip Glass, and Michael Nyman. His electronic set set designs for Luciano Pavarotti's concert at Central Park, NY in 1993 remain unforgettable. His latest installation, 'Monumenta ad Agrigento', was realized within the Temple Valley. On June 2, 2013, his work opened the Plessi Museum at the Passo del Bren- nero, where today a permanent exhibition is on display. His work is the first Italian example of Highway Museum Space. Presently, Fabrizio Plessi lives and works between Venice and Mallorca. The table named Mose and designed by artist Fabrizio Plessi is a perfect example of the stylistic evolution of its author, constantly driven between light and matter with a strong edge of metaphy- sical allusions aimed at the "liquid modernity" he treasures so much, a metaphoric representation of water - his most personal expressive trait. In its representation, Mose is an overturned table, and has thus lost its identity. Yet, thanks to this choice, it can interact emotio- nally with any space at all. As suggested by its name, Mose poses a different interpretation of a traditionally and culturally static object, which generally is the center of something for function and functionality. Here, all possible definitions are symbolically overturned and, from the name to the shape, the table becomes an unusual, malleable and adaptable piece of furniture. It can be said that this table designed by Fabrizio Plessi and made in the workshop of marble craftsman Piero Zanella using stones extracted from the quarries of Bianco Puro, Bardiglio and Azul Macaubas with it two supports at the perimeter corners, is a new table for many reasons, not least that of leading the final user to an unconditional pleasure for the aesthetics of a living, here a true overturn of beliefs. After all, the expression "to overturn the table" embodies an act of defiance and rebellion against pre-e- stablished logics. To become pure art. * Fabrizio Plessi Mose Mesa Mármol cepillado Bianco Puro, Bardiglio y Azul Macaubas Edición Cleto Munari Firmado Fecha de creación: 2022 H74 W300 D120 cm Fabrizio Plessi (Reggio Emilia, 1940) estudió en la Accademia di Belle Arti de Venecia, donde enseñó durante muchos años. años. Utilizando el vídeo como salida artística, trazó un camino innovador que le hizo famoso en todo el mundo. innovadora que le dio fama mundial. Fue cofundador de la Kunsthochschule für Medien de Colonia, donde enseñó "Umaniz- zazione delle Tecnologie e Scenografia Elettronica". Su instalación Bombay-Bombay" en el Museo Ludwig de Colonia. Participó en 14 ediciones de la Bienal de Venecia, de 1970 a 2011 con Mari Verticali en el Padiglione Venezia. En Italia fue premiado en la Quadriennale de Roma en 1999. Ese mismo año la Hannover Kestner Gesellschaft le concedió un premio NLB como Mejor Artista del Año. En 2002, su antología Paradise/Hell fue expuesta en la Scuderie del Quirinale de Roma. Ha realizado más de más de 500 exposiciones personales en muchos de los museos más importantes del mundo, como el Centro Pompeu de todo el mundo, como el Centro Pompidou de París (1982), el Guggenheim de Nueva York (1998), el San Diego Museum of Contemporary Art (1998), el Guggenheim de Bilbao (2001). Formó parte de la Documenta VIII de Kassel en 1987 con su célebre instalación Roma". En 2003 expuso una obra antológica en el Berlin Martin Gropius Bau. De nuevo en Berlín, realizó una gran instalación para el Sony Center de Potzsdammer. para el Sony Center de Potzsdammer Platz. Colaboró con los museos austriacos más importantes, como el Kunshi- storiche, el Ludwig y la Neue Galerie de Linz. Incluso los países países emergentes consideran a Plessi un importante representante del arte, como cuando participó en la inauguración del nuevo Museo de Arte Contemporáneo de Rabat en 2006. Ha sido invitado especial en muchas bienales, como en El Cairo en 2001, en Sharjah, Saõ Paulo y en Gwangju (Corea) en 2000. Fabrizio Plessi colabora con el Grupo Louis Vuitton desde 2008. Louis Vuitton desde 2008, poniendo su arte al servicio de la renombrada mai- célebre maison francesa, como para la America's Cup. Ha trabajado con grandes empresas, como BMW, Dornbracht, Loewe, Swarovski, Calvin Klein, y con muchos intelectuales y músicos, entre ellos Robert Wilson, Philip Glass y Michael Nyman. Sus escenografías de Luciano Pavarotti en Central Park (Nueva York) en 1993. 1993. Su última instalación, "Monumenta ad Agrigento", se realizó en el Valle del Temple. El 2 de junio de 2013, su obra inauguró el Museo Plessi en el Passo del Bren- nero, donde hoy se exhibe una exposición permanente. Su obra es el primer ejemplo italiano de espacio museístico en autopista. En la actualidad Fabrizio Plessi vive y trabaja entre Venecia y Mallorca. La mesa llamada Mose y diseñada por el artista Fabrizio Plessi es un ejemplo perfecto de la evolución estilística de su autor, constantemente constantemente entre la luz y la materia, con una fuerte a la "modernidad líquida" que tanto aprecia, una representación metafórica de la "modernidad líquida". una representación metafórica del agua, su rasgo expresivo más personal. expresivo más personal. En su representación, Mose es una mesa volcada, y por ello ha perdido su identidad. Sin embargo, gracias a esta elección, puede interactuar emocionalmente con cualquier espacio. nalmente con cualquier espacio. Como sugiere su nombre, Mose plantea una interpretación diferente de un objeto tradicional y culturalmente estático, que suele ser el centro de algo por su función y funcionalidad. Aquí, todas todas las definiciones posibles se trastocan simbólicamente. forma, la mesa se convierte en un mueble inusual, maleable y y adaptable. Puede decirse que esta mesa diseñada por Fabrizio Plessi y fabricada en el taller del artesano del mármol Piero Zanella utilizando piedras extraídas de las canteras de Bianco Puro, Bardiglio y Azul Macaubas con sus dos soportes en las esquinas perimetrales, es una mesa nueva mesa por muchas razones, entre ellas la de llevar al usuario final a un placer incondicional por la estética de un living, aquí un verdadero vuelco de las creencias. Al fin y al cabo, la expresión "volcar la mesa" encarna un acto de desafío y rebelión contra las lógicas preestablecidas. lógica preestablecida. Convertirse en puro arte. * Fabrizio Plessi Mose Tisch Marmor Bianco Puro, Bardiglio und Azul Macaubas gebürstet. Ausgabe Cleto Munari Unterzeichnet Entstehungsdatum: 2022 H74 B300 T120 cm Fabrizio Plessi (Reggio Emilia, 1940) studierte an der Accademia. di Belle Arti in Venedig, wo er schließlich viele Jahre lang unterrichtete. Jahre lang. Mithilfe von Videos als künstlerisches Mittel hat er einen innovativen Weg eingeschlagen. Weg, der ihn weltweit berühmt machte. Er war Mitbegründer der Kunsthochschule für Medien in Köln, wo er 'Umaniz-? zazione delle Tecnologie e Scenografia Elettronica' unterrichtete. Seine Installa- tion 'Bombay-Bombay' im Museum Ludwig in Köln ist berühmt. Er nahm an 14 Ausgaben der Venice Biennial von 1970 bis 2011 teil. 2011 mit Mari Verticali im Padiglione Venezia. In Italien wurde er 1999 bei der Quadriennale in Rom ausgezeichnet. Im selben Jahr, verlieh ihm die Hannoversche Kestner Gesellschaft einen NLB-Preis als Best Artist of the Year. Im Jahr 2002 wurde seine Anthologie Paradise/Hell in der Scuderie del Quirinale in Rom ausgestellt. Ha realisierte mehr als mehr als 500 persönliche Ausstellungen in vielen der wichtigsten Museen. ms weltweit, wie z.B. dem Centre Pompidou in Paris (1982), dem NY Guggenheim (1998), das San Diego Museum of Contemporary Art (1998), das Bilbao Guggenheim (2001). Er war Teil der Kassel Documenta VIII im Jahr 1987 mit seiner berühmten Installation. 'Roma'. Im Jahr 2003 stellte er eine Anthologie im Berliner Architekturmuseum aus. Martin Gropius Bau. Ebenfalls in Berlin realisierte er eine riesige Installation. tion für das Sony Center am Potzsdammer Platz. Er arbeitete mit mit den wichtigsten österreichischen Museen, wie der Kunshi- storiche, dem Ludwig, und der Neuen Galerie in Linz. Auch aufstrebende Länder Länder finden in Plessi einen wichtigen Kunstvertreter, wie zum Beispiel, als er an der Eröffnung des neuen zeitgenössischen Kunstmuseums in Rabat teilnahm. von Rabat im Jahr 2006. Er war Sondergast auf zahlreichen Biennials, wie z.B. in Kairo im Jahr 2001, in Sharjah, Saõ Paulo und in Gwangju, Korea, im Jahr 2000. Fabrizio Plessi arbeitet seit Jahren mit der Louis Vuitton Group seit 2008 zusammen und stellte seine Kunst in den Dienst des renommierten französischen Mai- son's service, as for the America's Cup. Er arbeitete mit großen Unternehmen wie BMW, Dornbracht, Loewe, Swarovski, Calvin Klein, und mit vielen Intellektuellen und Musikern, darunter Robert Wilson, Philip Glass und Michael Nyman. Seine elektronischen set designs for Luciano Pavarotti's concert at Central Park, NY in 1993 bleiben unvergesslich. Seine neueste Installation, 'Monumenta ad Agrigento', wurde innerhalb des Temple Valley realisiert. Am Juni 2, 2013 eröffnete sein Werk das Plessi Museum am Passo del Bren-. nero, wo heute eine Dauerausstellung zu sehen ist. Sein Werk ist das erste italienische Beispiel für einen Highway Museum Space. In der Gegenwart, Fabrizio Plessi lebt und arbeitet zwischen Venedig und Mallorca. Der Tisch mit dem Namen Mose, der von dem Künstler Fabrizio Plessi entworfen wurde, ist ein Beispiel dafür. ein perfektes Beispiel für die stilistische Entwicklung seines Autors. getrieben zwischen Licht und Materie mit einer starken Kante von metaphy-. sical allusions aimed at the "liquid modernity" he treasures so much, a metaphoric representation of water - his most personal expressiven Merkmal. In seiner Darstellung ist Mose ein überfüllter Tisch und hat somit seine Identität verloren. seine Identität verloren. Dank dieser Wahl kann er jedoch emotio- nal interagieren. nally with any space at all. Wie der Name schon andeutet, stellt Mose eine andere Interpretation dar. eines traditionell und kulturell statischen Objekts, das im Allgemeinen als der Mittelpunkt von etwas für Funktion und Zweckmäßigkeit ist. Hier werden alle mögliche Definitionen werden symbolisch überwunden und von der Namen bis hin zur Form wird der Tisch zu einem ungewöhnlichen, kofferartigen und anpassungsfähiges Möbelstück. Man kann sagen, dass dieser von Fabrizio Plessi entworfene und gefertigte Tisch in der Werkstatt des Marmorhandwerkers Piero Zanella unter Verwendung von Steinen hergestellt wurde. die aus den Quartieren von Bianco Puro, Bardiglio und Azul gewonnen wurden. Macaubas mit seinen zwei Stützen an den Perimeter-Ecken, ist ein neuer Tisch aus vielen Gründen, nicht zuletzt, weil er den Endbenutzer zu einem ein bedingungsloses Vergnügen an der Ästhetik eines Wohnraums, hier eine wahre Überwindung von Glaubenssätzen. Schließlich ist der Ausdruck "to overturn the table" verkörpert einen Akt des Trotzes und der Rebellion gegen die vorher-eigenen Vorstellungen. stablished logics. To become pure art. * Fabrizio Plessi Mose Tavolo Marmo Bianco Puro spazzolato, Bardiglio e Azul Macaubas Edizione Cleto Munari Firmato Data di creazione: 2022 H74 L300 P120 cm Fabrizio Plessi (Reggio Emilia, 1940) ha studiato all'Accademia di Belle Arti di Venezia. di Belle Arti di Venezia, dove ha insegnato per molti anni. anni. Utilizzando i video come sfogo artistico, ha tracciato un percorso innovativo che lo ha reso famoso in tutto il mondo. percorso innovativo che lo ha reso famoso in tutto il mondo. È stato cofondatore della Kunsthochschule für Medien di Colonia, dove ha insegnato "Umaniz- zazione delle Tecnologie". zazione delle Tecnologie e Scenografia Elettronica". La sua installazione Bombay-Bombay" al Museo Ludwig di Colonia. Ha partecipato a 14 edizioni della Biennale di Venezia dal 1970 al 2011 con Mari Verticali al Padiglione Venezia. In Italia è stato premiato alla Quadriennale di Roma nel 1999. Nello stesso anno, Hannover Kestner Gesellschaft gli ha conferito un premio NLB come Miglior artista dell'anno. Nel 2002 la sua antologia Paradise/Hell è stata è stata esposta alle Scuderie del Quirinale di Roma. Ha realizzato più di più di 500 mostre personali in molti dei più importanti musei del mondo, come il mondo, come il Centre Pompidou di Parigi (1982), il Guggenheim di New York (1998). Guggenheim di New York (1998), il Museo d'Arte Contemporanea di San Diego (1998), il Guggenheim di Bilbao (1998). San Diego (1998), il Guggenheim di Bilbao (2001). Ha fatto parte della Documenta VIII di Kassel nel 1987 con la sua celebre installazione Roma". Nel 2003 ha esposto un'opera antologica al Martin Gropius Bau. Sempre a Berlino, ha realizzato un'enorme installazione per il Sony Center di Potzsdammer. per il Sony Center di Potzsdammer Platz. Ha collaborato con i più importanti musei austriaci, come il Kunshi- storiche, il Ludwig storiche, la Ludwig e la Neue Galerie di Linz. Anche i Paesi emergenti paesi emergenti trovano in Plessi un importante rappresentante dell'arte, come quando ha all'inaugurazione del nuovo Museo d'Arte Contemporanea di Rabat nel 2006. di Rabat nel 2006. È stato ospite speciale di molte Biennali, come al Cairo nel 2001, a Sharjah, a San Paolo e a Gwangju, in Corea, nel 2000. Fabrizio Plessi collabora con il Gruppo Louis Vuitton dal 2008. Louis Vuitton dal 2008, mettendo la sua arte al servizio della rinomata Maison francese. francese, come per l'America's Cup. Ha lavorato con importanti importanti aziende, come BMW, Dornbracht, Loewe, Swarovski, Calvin Klein, e con molti intellettuali e artisti. Klein, e con molti intellettuali e musicisti, tra i quali Robert Wilson, Philip Glass e Michael Nyman. Le sue scenografie elettroniche elettronica per il concerto di Luciano Pavarotti al Central Park di New York nel 1993. 1993 rimangono indimenticabili. La sua ultima installazione, "Monumenta ad Agrigento", è stata realizzata all'interno della Valle del Tempio. Il 2 giugno 2013, la sua opera ha inaugurato il Museo Plessi al Passo del Bren- nero, dove oggi è allestita una mostra permanente. La sua opera è il primo esempio italiano di Highway Museum Space. Attualmente, Fabrizio Plessi vive e lavora tra Venezia e Maiorca. Il tavolo chiamato Mose e disegnato dall'artista Fabrizio Plessi è un perfetto esempio dell'evoluzione stilistica del suo autore. perfetto esempio dell'evoluzione stilistica del suo autore, costantemente tra luce e materia, con una forte componente di allusioni metafisiche che si rivolgono al mondo del lavoro. allusioni metafisiche alla "modernità liquida" a lui tanto cara, una rappresentazione metaforica della modernità liquida" a lui tanto cara, una rappresentazione metaforica dell'acqua, il suo tratto espressivo più personale. tratto espressivo più personale. Nella sua rappresentazione, il Mose è un tavolo rovesciato, che ha così perso la sua identità. ha perso la sua identità. Eppure, grazie a questa scelta, può interagire emotivamente con qualsiasi spazio. emotivamente con qualsiasi spazio. Come suggerito dal suo nome, Mose pone una diversa interpretazione di un oggetto tradizionalmente e culturalmente statico, che in genere è centro di qualcosa per funzione e funzionalità. Qui, tutte le definizioni possibili vengono simbolicamente ribaltate e, dal nome alla forma, il tavolo diventa nome alla forma, il tavolo diventa un mobile insolito, malleabile e adattabile. malleabile e adattabile. Si può dire che questo tavolo progettato da Fabrizio Plessi e realizzato nel laboratorio dell'artigiano del marmo Piero Zanella utilizzando pietre estratte dalle cave di Bianco Puro, Bardiglio e Azul Macaubas. Macaubas con i suoi due sostegni agli angoli perimetrali, è un tavolo nuovo per molti motivi, tra i quali il fatto che tavolo per molti motivi, non ultimo quello di portare l'utente finale a un piacere incondizionato per l'estetica dell'abitare, in questo caso un vero e proprio vero e proprio ribaltamento delle convinzioni. Dopotutto, l'espressione "rovesciare il tavolo" incarna un atto di sfida e di ribellione a logiche precostituite. logiche prestabilite. Per diventare pura arte.
Portfolio composed of twelve serigraphs, justified 13/100 and signed in pencil, with text by Antonio de Lorenzo. Presented in a folder with a print run justification sheet. Published by Grupo Quince, Madrid. Dimensions: 48 x 58 cm each
FABRIZIO PLESSI (Reggio Emilia, 1940). "C'as Concos", 1989. Oil on canvas. Signed and dated in the lower right corner. With label on the back of Estudio de Arte Contemporaneo Joan Guaita. Bibliography: - "Fabrizio Plessi. Bombai-Bombai. Una videoinstal-lació i cent dibuixos (1976-1992). Joan Miró Foundation. 1994. -BONITO OLIVA, A.; CALABRESE, O. "Plessi". Edizione Canova, Comune di Reggio Emilia. 1990. Measurements: 190 x 152 cm. The series "C'as Concos" consists of works on paper and canvas created by Plessi in that Majorcan town. Although most of them are directly linked to the video sculptures "Armadi della memoria" (1990) and function as sketches, studies and variations of these, they also have an artistic value of their own. Unlike the "Armadi", which always maintain a quadripartite structure, in "C'as Concos" the artist experiments freely with the number of compartments, reducing or enlarging them to study compositions, light and chromatic effects from a totally pictorial approach. For this reason, this series should not be seen only as preparatory material, but as an autonomous set within his production. The "Armadi della memoria" can be understood both individually and collectively. Each piece acts as a memory box where Plessi summarizes ideas and works from previous stages, almost like a visual diary or a personal system of mnemonic notes. As a whole, the series provides access to the artist's symbolic universe and functions as a way of preserving and classifying his own creative memory. Its structure is repeated: metal boxes with doors that change according to the position of the viewer, four video screens above and four niches below. This duality symbolizes the two constant elements in his work: video as simulation and real materials in dialogue with it. In each cabinet Plessi's essential themes reappear: the boundaries between public/private, singular/multiple, the codification of memory, and the conflict between the technological and the material. Fabrizio Plessi, a pioneer of video art in Italy, explores the relationship between natural reality and technological visuality, creating works that question perception, identity and illusion. Trained and later taught at the Academy of Fine Arts in Venice, he developed since the late sixties an international career with recurrent participation in the Venice Biennale, performances, video installations and video sculptures. In the eighties and nineties he consolidated his prestige with exhibitions in institutions such as the Centre Pompidou, the Kassel documenta, the Miró Foundation and the Guggenheim in New York. His work is present in numerous museums and international collections.
Fabrizio PLESSI (Né en 1940) Intervento sulla citta di Parigi, 1973 Technique mixte sur papier, signée et datée en bas à droite, dédicacée en bas, titrée en haut 70 x 50 cm (à vue) - 27 9/16 x 19 11/16 in. Mixed media on paper, signed and dated lower right, dedicated lower edge, titled upper edge PROVENANCE Collection Liliane Touraine-Blum, historienne de l'art
FABRIZIO PLESSI 1940 Concert video performance project, 1976 Tecnica mista, collage su cartoncino cm. 50x70 Firma e data al fronte Timbro "Water works series New York" Autentica dell'artista su fotografia PROVENIENZA Collezione privata, Milano
FABRIZIO PLESSI 1940 Concert video performance double senses, 1976 Tecnica mista, collage su cartoncino cm. 50x70 Firma e data al fronte Timbro "Water works series New York" Autentica dell'artista su fotografia PROVENIENZA Collezione privata, Milano
PLESSI FABRIZIO (n. 1940). PROGETTO N.1226 (POSSIBILITA' DI SEGARE CON UNA SEGA A MANO UN GETTO D'ACQUA POTABILE CALDA). Signature and title on the back: stamp by Totem Gallery, Chirignano (VE) The work is accompanied by a certificate of authenticity on a photograph. PROVENANCE Totem Gallery - Il Canale, Venice Giorgio Affabris Collection, Venice Mangia Collection, Piacenza. 60 x 92 cm.
emulsified canvas cm 54 x 73 EXHIBITIONS Torre di Mosto - Località Boccafossa, Fini e Confini. Dal Paesaggio al Territorio. Opere da una collezione privata, Museo del Paesaggio, February - May 2019 Photo certificate issued by the Artist
waterpainting on canvas cm 60 x 50 Signed and dated on the reverse: Plessi, "Per Cézanne", 65 PROVENANCE Collezione Loel Rudegh (stamp on the reverse); Montecatini Terme, Fabiani Arte; private collection EXHIBITIONS Ferrara, Premio Nazionale di pittura contemporanea Il Gallo d'Oro di Auronzo, July - August 1965 (label on the reverse) LITERATURE
FABRIZIO PLESSI 1940 Reggio nell'Emilia 'PROGETTO PER VIDEO INSTALLAZIONE PER MONITOR E PISTA MAGNETICA' (1983) Mixed media on cardboard. Sheet size 69.8 x 99.7 cm. Signed by hand lower right 'Plessi'. Verso with personal dated dedication as well as remains of old adhesive residue. Min. rubbed, corners slightly bumped. Provenance: Private collection Baden-Württemberg. FABRIZIO PLESSI 1940 Reggio nell'Emilia 'PROGETTO PER VIDEO INSTALLAZIONE PER MONITOR E PISTA MAGNETICA' (1983) Mischtechnik auf Karton. BM 69,8 x 99,7 cm. Unten rechts handsign. 'Plessi'. Verso mit datierter persönlicher Widmung sowie mit Kleberückständen. Min. ber., die Ecken best. Provenienz: Privatsammlung Baden-Württemberg.Zeichen Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG).
FABRIZIO PLESSI 1940 Reggio nell'Emilia 'CROSS VIDEO BOX INSTALLAZIONE VIDEO PER MONITOR MOBILE SU PISTA MAGNETIZZATA' (1983) Mixed media on cardboard. Sheet size 69.8 x 99.7 cm. Signed by hand lower right 'Plessi'. Verso with remains of adhesive residue. Minimally rubbed, edges bumped. Provenance: Private collection Baden-Württemberg. FABRIZIO PLESSI 1940 Reggio nell'Emilia 'CROSS VIDEO BOX INSTALLAZIONE VIDEO PER MONITOR MOBILE SU PISTA MAGNETIZZATA' (1983) Mischtechnik auf Karton. BM 69,8 x 99,7 cm. Unten rechts handsign. 'Plessi'. Verso mit Kleberückständen. Min. ber., die Ecken best. Provenienz: Privatsammlung Baden-Württemberg.Zeichen Bitte beachten Sie, dass bei diesem Objekt wegen der Abgeltung des gesetzlichen Folgerechts § 26 UrhG eine pauschale Umlage von 2% auf den Zuschlagpreis zu entrichten ist. Please note that this lot has a flat-rated charge of 2% of the hammer price which will be payable to satisfy the provisions of the statutory resale right pursuant to art. 26 of the German Copyright Act (Urhebergesetz, UrhG).
Plessi, Fabrizio. Environment Project. 8 Farbstiftzeichnungen für Videoinstallations-Projekte auf kariertem Papier. Alle Arbeiten rechts unten signiert. Um 1976. Motivmaße: 44,5 x 64 cm. Blattmaße: 50 x 70 cm. Schöne Sammlung mit 8 "Cold Drawings" für Video-Projekte des italienischen Installations-, Medien- und Videokünstlers Fabrizio Plessi (geb. 1940). - 1 Blatt mit Eckknickspur, sonst sehr gut erhalten.
China su carta. 32,00 x 42,00 cm Firmato e datato al recto in basso a destra. Il prezzo di martello di questo lotto verrà integralmente versato a favore della Fondazione Gruppo Abele. - Indian ink on paper. 12.60 x 16.54 in. Signed and dated lower right recto. The hammer price of this lot will be paid in full to the Fondazione Gruppo Abele.
signature and date lower right and on the back. Video Cruz: a series of wooden structures in irregular cross shapes with embedded monitors that transmit images of cubist fire and cubist waterfalls. Large environmental video sculpture designed with Spain and the Inquisition in mind
PLESSI FABRIZIO (n. 1940). 1° IDEA GERMINALE PER VIDEO GOING. signature, date and title The work is accompanied by an authentication of the artist on a photograph. 100 x 70 cm. 1982.
PLESSI FABRIZIO (n. 1940). SPUGNA. signature and date The work is accompanied by the artist's authentication on photograph PROVENANCE Private collection, Turin. 100 x 70,50 cm. 1975.
FABRIZIO PLESSI (1940) Mare orizzontale (Progetto per videoinstallazione) Mixed media on paper 20,5 x 29,5 cm Signed lower right and titled upper center
FABRIZIO PLESSI (1940) Mare orizzontale (Progetto per videoinstallazione) Mixed media on paper 20,5 x 29,5 cm Signed lower right and titled upper center
PLESSI FABRIZIO (n. 1940). MARE ORIZZONTALE (VERSIONE PICCOLA). signature, date the work is accompanied by the artist's authentication on photography PROVENANCE Private collection, Prato. 184 x 66 x 50 cm. 2003.
Fabrizio Plessi (Reggio Emilia, 1940 - ) Per Cézanne 1965 Idropittura su tela cm. 60x50 Sul verso: firma, data, titolo e descrizione. Etichetta "Premio Nazionale di pittura contemporanea Il Gallo d'Oro di Auronzo 1965", Ferrara. Timbro "Collezione Loel Rudegh".
