Fabrizio Santona
Artistic Research
Sculpture
A practice centered on the generative condition of the void, where matter is not shaped but opened.
The work articulates a field in which form emerges as a threshold between presence and absence.
Graphic and Digital Art
A continuous investigation of the body as surface and code.
Drawing, painting and digital processes operate as systems of translation rather than representation.
Installations and Performances
A body of work structured around the tension between flesh and spirit, unfolding through environmental installations and performative situations.
The Void (late 1990s)
First poetic work establishing the conceptual foundation of the research.
Selected Projects
Crash (mid 2000s – 2010s)
A large-scale sculptural project addressing human dignity through serial forms and spatial dissemination.
Developed across institutional and urban contexts, the work repositions trauma within a collective visual field.
MOST-O Theatre Method (early 2000s – 2010s)
A long-term performative and relational practice developed within psychiatric, educational and cultural environments.
Operating beyond theatre and therapy, MOST-O constructs conditions for experience rather than representation.
Dante Hacked (late 2010s – early 2020s)
A project translating the Divine Comedy into binary code, questioning authorship, readability and algorithmic perception.
Human–Machine Research (2010s – ongoing)
An ongoing investigation into the relationship between human perception and technological systems, including carbon-based works, binary structures and holographic portraits.
Activities and Foundations
Agarthisti Artistic Manifesto (2000s)
Founder
MKT Center for Creativity, Education and Culture of Leisure Time (early 2000s – mid 2000s)
Founder and President
Informal Piemonte–Mexico (2000s)
Co-creator, with Jorge Diaz
Therapeutic and Rehabilitative Artistic Practice (ASL)
(early 2000s – late 2010s)
Lecturer and project developer within long-term psychiatric contexts.
Exhibitions and Institutional Contexts
Santona’s work has been presented from the early 2000s to the present across museums, public institutions and independent platforms.
His practice includes large-scale urban interventions, international exhibitions and cross-disciplinary collaborations, supported by curators, institutions and contemporary patronage structures.
Positioning
Santona’s research operates as a unified field in which:
- the void functions as a spiritual and structural condition
- the artwork acts as a site of projection and participation
- technology is approached as both medium and critical threshold
- artistic practice extends into social and rehabilitative contexts
