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
s a series of works created using concertina barbed wire — the razor-edged type employed along military borders. The project, initiated in 2023, was also presented on the occasion of PARÀ DÓXA, the solo exhibition at @galleria.lampo. These sculptures are made from galvanized steel coils, welded and transformed into sculptural forms. The overall project extends to approximately 40 kilometers, mirroring the length of the Gaza Strip. The coils vary in size and weight: • Ø 69 cm, 500 m of wire → 30–40 kg • Ø 150 cm, 1000 m of wire → approx. 100 kg Each element is painted pink on one side and blue on the other, turning a material conceived to wound into one that evokes an infantile, almost toy-like aesthetic — a disarming transformation of violence into delicate illusion.
“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.
FABIO WEIK 