Boîte-en-valise II, red, 2011.
Fabrizio Ruggiero used, from time to time over the last twenty years, Duchamp’s objects as signs which give a different meaning, using them as subjects for his frescoes.
Playing with the redundant cult of the Art-Stars-System F.R. gathered in the capacious Boîte-en-valise II, red. (2011).
Boîte-en-valise II, red. (2011).
the preparatory sketches for the anamorphic view of Nu descendant un escalier, Celeste! (1989)
Nu descendant un escalier, Celeste! (1989)
In the capacious Boîte-en-valise II, red. (2011) are also stored .the preparatory sketches for Ariadne and Dionysus in the installation A bruit secret & Pandora’s Box (2010)
Ariadne and Dionysus 1
Ariadne and Dionysus2
and the fresco portrait Duchamp with piercings (2008).
Duchamp with piercings (2008).
Marcel Duchamp is the artist who has played most with double-meaning especially when naming his Ready-made.
According to Duchamp, the mental action of actually choosing a different attitude towards reality adds an aesthetic value to the artwork, while technical skill is only a manual work. Fabrizio Ruggiero believes that technical skill can be a very sophisticated process, a deep mental action and, nonetheless, the linguistic gap producing a variation in meaning, often funny, inside an idiom, has nothing whatever to do with visual arts.
Painting is not done by words, painting has no sound, and focusing awareness in seeing, in the very sense of sight, painting amplifies its sensitiveness. Painting becomes a subject radiating vibrations, painting is not waiting for ears ready to listen but for eyes ready to look and so painting focuses its own “sound” on mark and color and both voice the inexpressible…Painting hints at the inexpressible, a glimpse of something that can be caught “in-between” or behind experience, something that cannot be told because painting has no words but that can be express by painting because it consists of mark and color, the very things that words are missing.