NKONDI, 2025 is a project composed of a series of mining tools created from technological waste such as batteries, fragments of electronic boards, and cell phone casings. These elements bear witness to a process of exploitation that begins in the African subsoil and ends in our everyday devices. Coltan, a rare and indispensable mineral used… Continua a leggere NKONDI
Part of the Human Fragility series, these sculptures are constructed from sheets and fragments of glass (partly recovered from protective casings, frames of previous works, or broken vitrines) assembled with resin and silicone. The architectural configuration, reduced to ruin, takes on a transparent and unstable form, defined by cracks, fractures, and material accumulations. The choice… Continua a leggere Glass Ruin Project 0
I have been drawing monoscopes since 2008–09, perhaps earlier — I don’t quite remember — but I do recall they were already present in my solo exhibition Sinergie at Fabbrica Borroni in 2010. They are devices that interrupt rather than communicate, establishing a suspended space. They do not display content but its absence. Their technical function paradoxically becomes an autonomous image, capable of replacing the flow with the signal itself. In this shift, what was meant to be neutral transforms into language, into an act of power, imposing its own kind of televisual and communicative dictatorship. Today, those monoscopes have turned black like ruins. They no longer transmit test signals but instead absorb the noise of the world, like the broken communication emerging from the Gaza Strip — a fragmented, non-linear signal that speaks of absence and resistance. These are the most recent works from 2025: MONOSCOPIO, enamel and tar on aluminum.
“Natura Posthuma” — Optical Fiber Nest by Fabio Weik, 2025 Optical-fiber kamikaze drones are employed in warfare to transmit data and deliver destructive attacks with bombs. Yet, the remote-control signals are often disrupted. The thin cables that connect them—stretching over 30 kilometers—are frequently scattered across fields, eventually becoming entangled with the natural landscape. Some birds, unaware of their origin, use these remnants to build their nests. A relic of death, serving as protection for life. The result is a hybrid form that exposes the short circuit between nature and war, life and pollution. It belongs to an archaeology of the present, where technological debris is not merely a trace but a living substance infiltrating the biological cycle. It materializes the notion of post-nature, in which the organic and the inorganic collapse into a single form.
Nel regime estetico dell’adorabile, il felino diventa avatar di un futuro in cui l’essere umano, privato della sua centralità produttiva, si riduce a sfondo secondario dell’immagine stessa.
Fabio Weik’s project stages a collision between a machine of death and the fragile persistence of nature. The structure recalls the outline of kamikaze drones deployed in the current war between Russia and Ukraine, devices programmed to erase life from a distance, their attacks circulating endlessly through social media feeds. These images of vertical descents, of targets consumed by a remote eye, constitute a new grammar of war, a vision in which sight itself becomes execution.
“FINIS” by Fabio Weik curata da Alice Lazzaroni Dopo aver presentato la serie “-BALLA!-” la prima volta presso gli spazi dell’ex scalo ferroviario di Porta Genova e successivamente presso la Chiesa consacrata di San Bartolo sull’Isola di Stromboli vincendo un premio menzione d’onore della Regione Sicilia, Fabio Weik accetta l’invito di Orvieto Cinema Fest portando… Continua a leggere FINIS solo show for ORVIETO CINEMA FEST/MUSEO OPERA DI ORVIETO
The title of the exhibition comes from the Greek etymon of the word 'paradox,' a contradiction that refers to the concept of the series of works presented, in which the artist reflects on crucial social issues with a veil of aesthetic tenderness. Part of the body of work is represented by oil paintings and printed plates, featuring the diving birds Sule together with the species of the flying fish, the inspiration comes from the repertoire of images personally archived by the artist from documentaries of the 1980s. The interest in the two animal species stems from their defiance of the elements that naturally host their habitats: the Suleys dive toward the sea like rockets from the sky, the fish fly through the air in a desperate movement to escape a hostile environment and predators. Both represent a metaphor of forced adaptation, dictated by survival, and they are compared to humanity's behavior during times of conflict. Just as in a battlefield, the exhibition space is demarcated by a barbed wire installation that indicates a compulsory path of visitation, along which narrow coils are scattered in tensioned scuplture and become additional martial symbols within the exhibition. In contrast to the hostile, bounded environment, Parà Dóxa's body of work is presented in muted colors of pinkish and blue hues that act as 'filters' or visual devices applied to the two- dimensional works and to the wire installation, making the exhibition seemingly alienating and drawing the viewer into a reflection on the dissonances of the conflicts of natural and human life.
‘’Gold Track’’ di Fabio Weik (1984), Galleria Paola Verrengia - artista multidisciplinare - a cura di Anna Vittoria Magagna.
-BALLA!- PROJECT (“Oltre Balla” site - specific installation in Chiesa di San Bartolomeo - Stromboli Italy By Fabio Weik for PREMIO STROMBOLI ) curata da Alice Lazzaroni Dopo aver presentato la serie “-BALLA!-“ con le sue due personali a Milano e Brescia, Fabio Weik accetta l’invito del Premio Stromboli portando l’installazione site-specific “attraverso Balla” e… Continua a leggere PREMIO STROMBOLI: -BALLA!- CHIESA DI SAN BARTOLOMEO, STROMBOLI.
FABIO WEIK 