FRANCESCO DE PREZZO
NULL PAINTINGS
MOCKUP PAINTINGS
PLACEHOLDERS SCULPTURES
HIDING SURFACES
EXHIBIT MAKERS / AI
KILL THE REFERENCE
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upcoming:
>HEART Herning Museum of Contemporary Art, Herning, DK
>Fundación Bienal de Cuenca 2024, Cuenca, EC
>group at Shelter, Ghent, BE
with: Felix Fasolt, Lieve Shukrani Simoens, Jacques de Noodt & Jo Leydt,
Lisa Ijeoma, Aaron Daem, Lydia Rigaux, Max Kesteloot, Evelyn Vanoverbeke, Francesco De Prezzo,
Joselito Verschaeve, Bahati Simoens, Willem Boel, Niels Raoul Boone, Maarten Inghels
latests:
>PLACEHOLDERS, Marathon Gallery, Ellenville–NY, US > review on MOUSSE
>Blind Taste, ARBAG, Lisbon, PT
>Artissima, Loom gallery, Turin IT
with: Jonathan Monk, Willy De Sauter, Jan Dibbets, Vadim Fishkin, Paul Gees, Benjamin Jones, Antoine Langenieux Villard, Ignacio Uriarte,
Francesco De Prezzo
>Positions, Saon 75, Copenaghen, DK
with: Jan Domicz, Federica Francesconi, Francesco De Prezzo
>Placeholder Sculptures, FORM, Wageningen, NL > review on MOUSSE
>Artviewer In conversation with Francesco De Prezzo > interview on ARTVIEWER
>Looks like paintings, MOTT Projects, New York, US
with: Moritz Neuhoff, Christopher Wool, Felix Gonzales Torres, Josh Reames, Francesco De Prezzo, Olve Sande, Théodore Géricault
>Miart 2023, Loom Gallery, Milan, IT
with: Robert Barry, Stanley Brouwn, Christo, Francesco De Prezzo, Willy De Sauter, Jan Dibbets, Paul Gees, Dan Graham, Benjamin Jones,
Jonathan Monk, Helmut Newton, Fred Sandback, Giacomo Balla, Ian Wilson > LOOM
CVABOUTPUBLICATIONSCONTACTS
“ I cannot assess to what extent the color of the artwork in the two-dimensional reproduction is relevant to that of the original three-dimensional work.
As the subject moves away, I am able to perceive it more clearly in its entirety, while it disappears to make way for its narrative. This relates both the color of the original object and that of its pictorial revision.”
Francesco De Prezzo’s work examines some experiential concepts of artistic production, exploring how objects and artworks interact with our vision. His approach is characterized by subverting the nature of the image,
destroying the pictorial representation with overlapping layers of erasures and abrasions. This process progressively transforms the subject of the painting, originally figurative, into a monochromatic and undefined
image field. Many of his interventions challenge the boundaries between illusion, expectation, and perception.
“Dear M, we are all assured that painting is inherently a two-dimensional affair, yet we invite you to consider an additional relationship: that of the image of the image.
For years, we have meticulously endeavored to destroy every painting created. And we have not taken pleasure in this, quite the contrary, we have felt considerable
contempt. You see, we have never been as interested in painting as much as something akin to it. We pursued the dimension of emulation, and in the end, in the image
of the painting reproduced on the canvas, we found the same aura that characterized the original color, in a vision free and lofty up to the sky.”
“Within the act of exhibit, there’s a subtle interplay between what comes before, what follows, and what happens in the moment. This suggests that elements
like invitations, flyers, catalogs, and documentation are not merely auxiliary to the exhibition, but rather, they fundamentally shape its essence.
Suppose we were to obtain views of the exhibition captured during the artwork’s installation, and we mingled these with images of the finished exhibition.
The image, as the lone testament to the layout, sets off a sort of temporal echo, which can rewrite or influence what the exhibition was or might have been
upon completion. This is evident in the silent images found within our art history books.
Every time we cast our eyes over a work of art from the past, we’re not actually seeing the artwork itself. Instead, our gaze aligns, in that moment, with the
eye of the photographer, burdened with their interpretative choices and sparked into action by our anticipations.”
We believe there is little to be done; lately, we find ourselves more intrigued by the absence of subjects rather than their presence.
It seems to be a constant fixation in our mind, that of a certain removal, even if we’re not yet sure what it applies to.
In the late afternoon, the objects in the study seemed to be wrapped in a strange, fading shadow. They emerged towards us without actually moving.
It was rather the light that highlighted them, that moved them, on the modernist chessboard of perception.
[S.11 Placeholder Element Concreteness and Abstraction] <——-> [(Concrete Object) : (Abstract Placeholder Element)]
[S.12 Media Interface in Placeholder Element Production] <——-> [(Physical Artwork) : (Digital Creative Tools with Placeholder Elements)]
[S.13 The Coexistence of Real and Imaginary Placeholder Elements] <——-> [(Real-World Object) : (Fictional Placeholder Element Concept)]
[S.14Materiality-Immateriality Continuum of Placeholder Elements] <——-> [(Tactile Art Object) : (Intangible Placeholder Element Experience)]
[S.15 Transmedia Storytelling with Placeholder Elements] <——-> [(Object-Based Narrative) : (Placeholder-Based Narrative)]
S.34 Transitory Replacement:
[Temporary Substitution <—-> Interchangeable Elements] <—-> (Shift in Artwork Dynamics <—-> Exploration of Alternate Perspectives)
S.35 Transformative Exchange:
[Artistic Swap <—-> Trade of Ideas] <—-> (Evolution of Artistic Concepts <—-> Renewal of Creative Expression)
S.36 Altered Substitution:
[Modified Replacement <—-> Transposed Elements] <—-> (Shifting Artistic Paradigms <—-> Transformation of Artistic Language)
S.37 Shifted Transference:
[Moved Supplanting <—-> Succession of Influence] <—-> (Change in Artistic Impact <—-> Shaping of Artistic Legacy)
S.38 Interchanged Succession:
[Successive Swap <—-> Alternation of Roles] <—-> (Interplay of Artistic Identities <—-> Evolution of Artistic Practices)
S.39 Metamorphic Switch:
[Artistic Metamorphosis <—-> Transferred Perspectives] <—-> (Redefinition of Artistic Boundaries <—-> Exploration of Hybrid Artforms)