Fabio Lattanzi Antinori : Dear Shareholder

9 December 2016 – 18 February 2017
Wednesday – Saturday, 12 – 6 pm
Private view: Thursday 8 December, 6 – 9 pm
In-conversation: Thursday 16 February, 7pm
Melanie Lenz (Curator of Digital Art & Digital Programmes Manager at the Victoria & Albert Museum), Ashlee Conery (Curator at the Florence Trust & member of FormContent) and artist Fabio Lattanzi Antinori

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Fabio Lattanzi Antinori: Dear Shareholder
Installation view
The RYDER Projects, 2017

Text

In the eyes of Fabio Lattanzi, the 2008 financial crisis is like witnessing the collapse of an empire, a chronicle of a fortold tragedy described through the abstraction of numbers and stock values.

In his first solo exhibition in the UK, Fabio Lattanzi crafts together financial mass data archives, an opera singer and complex financial algorithms into a feast of orchestrated requiems. Using traditional screen printing combined with sensory technology, the artist creates objects that reinterpret historical and everyday moments from the stock market records into a musical and poetic manifestation, inviting the audience into a bodily and sonar experience.

Drawing together day-trading figures, financial flash-crash algorithm records, news-websites search engine results, dark pool market exchange statistics and descriptions of the cheapest items sold on e-Bay, ‘Dear shareholder’ celebrates the overwhelming sensation of fast track information flow and its almost religious intangibility by human experience capacity.

Curated by Bar Yerushalmi


Fabio Lattanzi Antinori, born in Rome, earned his MFA in Arts and Computational Technologies from Goldsmiths, London, in 2013. Antinori was selected for the PS1 Summer School, New York, in 2012 to study with Marina Abramović; he recently had a solo exhibition at the MoCA Shanghai Pavilion and was also part of the Triennial of Fiber Art in Hangzhou (2016). Recent exhibitions include a duo show with Jeremy Everett at Kristin Hjellegjerde gallery, London (2016), Brun Fine Art (2016), East London Printmakers, London (2015), and Dream Home, Arebyte Gallery, London (2015). Group exhibitions include the Kaunas Biennial, Lithuania (2015), Heaven Is A Place Where Nothing Ever Happens, Pi Artworks, London (2015), NYU, New York (2015), Museum of Contemporary Cuts (2015), Production Methods, Watermans Arts Centre, London (2015), the Victoria & Albert Museum, London (2014), and the Museum für angewandte Kunst, Vienna (2013). He was awarded the Connections Through Culture bursary from the British Council (2016), the A-N Travel Bursary for extraordinary and inspirational research (2016), the Artist International Development Fund from the Arts Council (2016); he was selected for Guest Projects (2015), the Florence Trust residency (2014) and the Open Data Institute collection (2012). Public collections include the Villa Lagarina Civic Museum, Rovereto and the Crespina Civic Museum, Pisa and the V&A, London.

Bar Yerushalmi is of French-Israeli descent. His body of work has been based throughout and has worked in London, Paris, Melbourne and Tel Aviv, where he serves as an independent curator and art consultant. He received his BA in Fine Arts from École Nationale Supérieure des Beaux-Arts, Paris and MFA in Curating from Goldsmiths, University of London. His experience includes a wide range of curatorial work, in small to medium size gallery spaces. Bar currently represents Fehily Contemporary Gallery in London, and serving as associate-curator of ‘Into The Wild’, an artist development programme at the Chisenhale studios in London. His recent projects includeEmbassyHACK (2016), a co-curated group exhibition at the Government Art Collection,London. Assistant to the curatorial team of Agnes Martin (2015) retrospective at Tate Modern, London, Panacea (2015), a group exhibition at 43 Inverness Street Gallery, London; MEIL (2015), a co-curated group exhibition at Chisenhale Studios, London;Partial Presence (2015), a co-curated group exhibition at the Zabludowicz Collection, London; CONFLUX (2015), a co-curated group exhibition at the Electrician’s Shop, London; BADLAND (2014), a group exhibition at Fehily Contemporary Gallery, Melbourne; and Chaiers (2013), a solo exhibition at ENSBA Gallery, Paris.

Images

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Fabio Lattanzi Antinori, A New Evidence II, 2016
Screenprint on Somerset paper, custom supports.
Variable dimensions
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Fabio Lattanzi Antinori: Dear Shareholder
Installation view
The RYDER Projects, 2017

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Fabio Lattanzi Antinori, A New Evidence II, 2016 (detail)

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Fabio Lattanzi Antinori: Dear Shareholder
Installation view
The RYDER Projects, 2017

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Fabio Lattanzi Antinori, Ask Mountain [HFT Crop Circle, Crime Scene], 2016 Screenprint on Fabriano paper
85 cm x 60 cm
Unique

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Fabio Lattanzi Antinori, Ask Mountain [HFT Crop Circle, Crime Scene], 2016 Screenprint on Fabriano paper
85 cm x 60 cm
Unique

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Fabio Lattanzi Antinori, Dataflags, 2014
Somerset paper, data from the last ten years of Lehman Brothers’ financial trading, electric paint, soundsystem, custom code, voice soprano (Madge).
240 x 140 x 5 cm.

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Fabio Lattanzi Antinori: Dear Shareholder
Installation view
The RYDER Projects, 2017

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Fabio Lattanzi Antinori, Belvedere, 2015
One colour screen print on Somerset Paper 240gsm
50 x 70 cm
Unique

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Fabio Lattanzi Antinori: Dear Shareholder
Installation view
The RYDER Projects, 2017

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Fabio Lattanzi Antinori, Dear Shareholder, 2013
Diastic poem on a set of seven engraved gift pens, custom code and supports. Dimensions variable. Edition of 3 + 1AP

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Fabio Lattanzi Antinori, Dear Shareholder, 2013 (detail)

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Fabio Lattanzi Antinori, A New Evidence, 2016
Interactive screenprint on Somerset Paper, paint, antidepressant, microcontrollers, speaker, custom sensors, opera singer voice, data from dark pools
80 cm x 120 cm
Unique

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Fabio Lattanzi Antinori, A Dry Mountain I, 2015
Two colours screen print on Somerset paper 240gsm
50 cm x 35 cm
Edition of 6

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Fabio Lattanzi Antinori, A Dry Mountain II, 2015
Two colours screen print on Somerset paper 240gsm
50 cm x 35 cm
Edition of 6