{"id":86,"date":"2026-03-12T10:16:32","date_gmt":"2026-03-12T10:16:32","guid":{"rendered":"https:\/\/www.fabriziosantona.com\/?page_id=86"},"modified":"2026-03-25T17:16:19","modified_gmt":"2026-03-25T17:16:19","slug":"cv","status":"publish","type":"page","link":"https:\/\/www.fabriziosantona.com\/en\/cv\/","title":{"rendered":"BIO- CV"},"content":{"rendered":"
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Fabrizio Santona<\/h1>\n

Artistic Research<\/h3>\n

Sculpture<\/strong>
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.<\/p>\n

Graphic and Digital Art<\/strong>
A continuous investigation of the body as surface and code.
Drawing, painting and digital processes operate as systems of translation rather than representation.<\/p>\n

Installations and Performances<\/strong>
A body of work structured around the tension between flesh and spirit, unfolding through environmental installations and performative situations.<\/p>\n

The Void<\/strong> (late 1990s)
First poetic work establishing the conceptual foundation of the research.<\/p>\n

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Selected Projects<\/h3>\n

Crash<\/strong> (mid 2000s \u2013 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.<\/p>\n

MOST-O Theatre Method<\/strong> (early 2000s \u2013 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.<\/p>\n

Dante Hacked<\/strong> (late 2010s \u2013 early 2020s)
A project translating the Divine Comedy<\/em> into binary code, questioning authorship, readability and algorithmic perception.<\/p>\n

Human\u2013Machine Research<\/strong> (2010s \u2013 ongoing)
An ongoing investigation into the relationship between human perception and technological systems, including carbon-based works, binary structures and holographic portraits.<\/p>\n

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Activities and Foundations<\/h3>\n

Agarthisti Artistic Manifesto<\/strong> (2000s)
Founder<\/p>\n

MKT Center for Creativity, Education and Culture of Leisure Time<\/strong> (early 2000s \u2013 mid 2000s)
Founder and President<\/p>\n

Informal Piemonte\u2013Mexico<\/strong> (2000s)
Co-creator, with Jorge Diaz<\/p>\n

Therapeutic and Rehabilitative Artistic Practice (ASL)<\/strong>
(early 2000s \u2013 late 2010s)
Lecturer and project developer within long-term psychiatric contexts.<\/p>\n

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Exhibitions and Institutional Contexts<\/h3>\n

Santona\u2019s work has been presented from the early 2000s to the present across museums, public institutions and independent platforms.<\/p>\n

His practice includes large-scale urban interventions, international exhibitions and cross-disciplinary collaborations, supported by curators, institutions and contemporary patronage structures.<\/p>\n

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Positioning<\/h3>\n

Santona\u2019s research operates as a unified field in which:<\/p>\n

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  • the void functions as a spiritual and structural condition<\/li>\n
  • the artwork acts as a site of projection and participation<\/li>\n
  • technology is approached as both medium and critical threshold<\/li>\n
  • artistic practice extends into social and rehabilitative contexts<\/li>\n<\/ul>\n<\/div>\n\n\n\n\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t
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    \n \"scultura,\n <\/div>\n <\/div>\n \n <\/div>\n <\/div>\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>","protected":false},"excerpt":{"rendered":"Fabrizio Santona Artistic Research SculptureA 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...","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-86","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/pages\/86","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/comments?post=86"}],"version-history":[{"count":24,"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/pages\/86\/revisions"}],"predecessor-version":[{"id":249,"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/pages\/86\/revisions\/249"}],"wp:attachment":[{"href":"https:\/\/www.fabriziosantona.com\/en\/wp-json\/wp\/v2\/media?parent=86"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}