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.
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.
This project reproduces in scale a destroyed urban landscape. A suspended IV bag slowly releases a red liquid resembling blood. The progressive dripping physically erodes the model beneath, built with fragile materials such as sand and PVC. The intervention is part of a series dedicated to airstrikes carried out on Gaza, each titled after the official names of Israeli military operations. Every installation is visible only once. At the end, all that remains is a video document, presented in the following exhibition. PVC, sand, cement, synthetic blood pigment, programmed drip-release mechanism Site specific self-destructive installation Variable duration (from 72 to 120 hours) Disintegration becomes language. Blood functions as a device. The project vanishes to remain in memory.
BURQA EX CARNE (from the series Human Fragility) Resin and ballistic gel sculpture, approx. 165 cm Anthropomorphic figure covered by a drapery recalling the form of a burqa. The surface, made of resin and ballistic gel, simulates the texture of flesh. The work belongs to the Human Fragility series, focused on the relationship between body, identity and social vulnerability.
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.
PREMIO STROMBOLI presenta “ADATTAMENTO COMPLESSO NATURALE” curata da Fabio Weik a Stromboli dal 12 al 17 Luglio 2023. Il progetto prende parte nella sezione “Fuori Premio”, è ideato e curato da studio WEIK (curatore Fabio Weik, co-curatrice Alice Lazzaroni) . Gli spettatori verranno coinvolti in un percorso multidisciplinare che comprende opere, performance e interventi urbani e video arte di artisti internazionali quali: Franko B, Vesod, Fabio Weik, William Cobbing, Mathery Studio, Dies_ (otolab) e molto altri.
‘’Gold Track’’ di Fabio Weik (1984), Galleria Paola Verrengia - artista multidisciplinare - a cura di Anna Vittoria Magagna.
FABIO WEIK 