martedì 4 dicembre 2018

108: "In Transito" new book by PressPress.

108 - In Transito 
180 drawings from 2009 to 2018
17 dreams (Italian text)
Introduction by Dr. Pira
208 pages on Favini paper Graphic
Design by Ilaria Pittassi
Press Press Risograph (LINK)
Screenprint printed by Press Press at Spazio Florida,
Milano - November 2018 250 numbered copies
you can buy it here:

martedì 4 settembre 2018

PGSD - Altrove - Museo Marca Catanzaro

PGSD Post-Graffiti Stress Disorder
Museo Marca, Catanzaro
8 August – 04 September 2018
Curated by Vittorio Parisi and Edoardo Suraci.

108: "tecnica per contrastare l'ansia" 2018
Painting on canvas (6,70x2,70m)
PGSD group show - Altrove 2018
MARCA museum Catanzaro.


Il disturbo da stress post-traumatico, in psichiatria, è l’insieme di segni e di sintomi tipici che accompagnano la descrizione a un fattore accidentale estremo, ma si riferisce anche a una vasta gamma delle reazioni individuali che giocano un ruolo fondamentale nel comportamento. Al Museo MARCA di Catanzaro il termine “StressDisorder” è riletto e ricontestualizzato, dai curatori Edoardo Suraci e Vittorio Parisi, come “trauma” legato alla confusione e alla distorsione generato dall’accumulo visivo delle città contemporanee e al bombardamento dei social, nella mostra PGSD – Post-Graffiti Stress Disorder, evento principale della quinta edizione dell’Altrove Festival evento dedicato alla Street art e alla rigenerazione del contesto urbano.

venerdì 18 maggio 2018

108 live performance @ Buzz Kill

Live performance (sound performance and video) at BuzzKill
FCKFF Exhibition at PAC - Parco Arte Contemporanea
DIY instrument.
Raw screenprint on paper and tshirts.
Painting on paper.

lunedì 7 maggio 2018

R.P.M. collective show - Valencia

4 May – 15 June 2018 - PLASTIC MURS - Calle Denia 45, 40006. Valencia, Spain

Regime of Draft When one morning in 1935, at the Concours Lépine inventor’s fair, Marcel Duchamp put his gramophone on the table and turned his first series of Rotoreliefs on it, there was no one betting on those cardboard discs. But it is known that, that same night, his eccentric circles were still spinning in the eyes of a few “scouts” at a variable speed between 40 and 60 revolutions per minute. Showing the modern fascination for the machine, the constant movement and the optical illusion, the Rotoreliefs scratched the surface of cardboard to generate an unusual depth in the game between the sight and a proper rotation regime. The works selected by Plastic Murs for their new collective to suggest the possibility of the creative process understood as a spin, as a game looking from the walls of the city to the walls of the gallery, rehearsed from one piece to another and vice versa, as happens with the large organic, black spots, with which the Italian 108 fills papers that he then folds and unfolds following a precise geometry of lines, or in the drawings where the French Nelio is adding more and more orchestrated marker strokes. They suggest a reversible line of growth on paper. Likewise, this process of idea is in the conception of the Ritournelle of the Frenchman Arnaud Liard, who are substitutes for torn walls with iridescent and metallic inserts that we activate when moving; in the surgical assemblages of overlapping wooden frames of the Dutch Graphic Surgery, who challenge us to get tangled up in their black latticework; or in the two works presented by the Italian Moneyless and that takes us to a renewal of the geometric line, to that revolution of the circle, to the spring that appears by rotation and displacement. Thus, this evolution of forms in process can also be tested throughout the assembly, adjusting our speed selector at each step, in case we succeed in finding in the rotation around each one of the works at not a single fixed point but -like Octavio Paz would say- the infinite rotation of infinite points that moves the whole constellation of signs of our wandering time, which end sand begins at every moment, still without a name, in constant rotation regime, as corresponds to a disc. Ricardo Forriols Universitat Politècnica de València.

mercoledì 25 aprile 2018


FROM 28 APRIL 2018 TO 27 MAY 2018 
Via di Grotta Pinta 38 00186 Rome, Italy

April 28th, 2018 Galleria Varsi presents the third edition of the “Livelli” silkscreen exhibition in collaboration with 56Fili. This year the exhibition focuses on the technical possibilities of silkscreen printing which make the artworks emerge in a unique way; this is done by using media in a non-traditional way, bending them to each artist’s needs.

A personal research has been carried out for all artists aimed at satisfying their different aesthetic needs, thus succeeding in obtaining original works that have been created directly during the silkscreen printing phase and not simply reproduced. For this edition, 56Fili and Galleria Varsi, have chosen to invite five of the most important international urban artists:

108 (IT), Graphic Surgery (NL), Sten & Lex (IT), Tellas (IT), Zedz (NL), who worked within a year in the screen printing laboratory. Arturo Amitrano, curator of the 56Fili project, has gone beyond the previous editions, investigating and encouraging artists to experiment on different media such as paper, textiles, plexiglass and lenticular film. 108– The artist has brought to silkscreen printing the same approach he uses in the creation of his other works.

By working on different media, such as masking, freehand drawing on gloss coated paper, spray on typographic screens, he was able to reproduce on silkscreen what is usually done on canvas. Most of his production is based on the creation of diptychs where the traces left by color on the matrix of the first work become the base for the construction of the second one, generating a formal and material bond between them.

Prints are available here:

martedì 6 marzo 2018

108: "Abolir toute pensée rationnelle" - Galerie Celal M13 - Paris.

108: "Abolir toute pensée rationnelle"  
Exposition personnelle
15 mars - 14 avril 2018

Text by Michela D'Acquisto:
108’s black shapes are hard to compare to anything in the current world. Concise & irregular, they deviate not only from canonical representations, but also from geometrical rigor – the correspondences, instead, are to be found on the immaterial plane of the unconscious. Conceived as the visual manifestation of an inner process which aims to abolish rational thought, these new works diverge from his previous ones, subverting the proportion between irrational & non-irrational components. If in the previous works the dichotomy was less marked and more oriented towards rationality, represented by the perfection of the geometric shapes at times interrupted by colorful elements with an irregular perimeter, now it’s the irrationality of the dark stains prevailing on the colorful rational part, reduced to thin lines which enter the shadow and are almost absorbed by it. The artist adapts and alters the lexicon of geometry to depict what lies beyond the visible. In this case, giving space to transcendent impulses is an attempt to achieve freedom from the subordination to external reality, and in particular to reconcile one’s own duality and release its most instinctive part, at least in the sphere of the intangible. It’s a random and impulsive process which, like everything that concerns 108’s artistic practice, can be assimilated to an intensely intimate ritual. And it’s the natural outcome of this process that the black eventually prevails: after all, painting black is a way of painting plenitude and, at the same time, emptiness. Observing these black shapes, abstract yet organic, incredibly simple & hypnotically repetitive, is for me a modality of aniconic meditation. They hold and reveal a belonging to the earth and its primordial cults, aknowledge rooted in the underworld and, in their essentiality, they connect to the purest state of 

giovedì 18 gennaio 2018

Monte Nero degli Zappini ▲ 108 + Ritmo


Ritmo presenta:  Monte Nero degli Zappini
Larva ▲ 108 live set + exhibition
Rifugio Santa Barbara – Etna Sud
Venerdì 26 gennaio 2018 12.00 – 20.00
Parcheggiata l’auto, pochi passi separano la strada dall’inizio del sentiero. Le scarpe lasciano impronte sulla neve e sulla sabbia nera; a sinistra, poi a destra, il percorso procede fino ai fuochi del primo rifugio, ai piedi del Monte Nero degli Zappini. Un appuntamento dedicato alla natura, all’inverno, alle forme e ai suoni che caratterizzano il lavoro di un artista. La ricerca di Guido Bisagni, in arte 108 (Alessandria 1978) si esprime mediante l’alternarsi di diversi linguaggi: pittura, muralismo, scultura, suono; espedienti e tecniche che l’artista adopera per esplorare una profondità ignota, dove la forma assume valore di identità primigenia, cercando nel mondo della spiritualità naturale, nei culti e nelle mitologie ancestrali, le proprie suggestioni e affinità. L’evento si propone come un’esperienza audio visiva, attraverso un live set che miscela sonorità noise e campionamenti, affiancato da un ciclo di lavori realizzato sul posto mediante l’esclusivo utilizzo di elementi naturali. Il progetto Larva, pseudonimo con il quale l'artista firma le sue produzioni musicali, verrà presentato insieme alle pubblicazioni di Inverno Edizioni, etichetta creata dall’artista per accogliere il contributo di diversi musicisti, accomunati dall’interesse per il minimalismo, la dissonanza, il rumore e l’atonalità. Una suggestiva immersione negli aspri scenari del versante sud, un omaggio al vulcano, alla sua voce e al suo respiro.


Leave the car, a few steps before the beginning of the trail. The shoes leave imprints on the snow and the black sand; on the left, then on the right, the trail goes up to the fires of the first shelter, at the foot of Monte Nero degli Zappini. An exhibition dedicated to nature, winter, shapes and sounds that characterize the work of the artist. The research of Guido Bisagni, in art 108 (Alessandria 1978) is expressed through different languages: painting, muralism, sculpture, sound; expedients and techniques that the artist uses to explore an unknown depth, where the form assumes the value of primigenial identity, seeking the world of natural spirituality, the cults and ancestral mythologies, its own suggestions and affinities. The event is a visual audio experience, through a live set that mixes noise and samples, a cycle of works made on site through the exclusive use of natural elements. The Larva project, a pseudonym to sign his musical productions, will be showed by Inverno Edizioni, a label created by the artist to receive the contribution of different musicians, who share a common interest in minimalism and dissonance, noise and atonality. A immersion in the harsh sceneries of the southern side of the Mountain, a tribute to the volcano, its voice and its breath.

Destinazione: rifugio Santa Barbara
Altitudine: 1738 m.s.m.
Lunghezza percorso: 1.2km.
Tempo di percorrenza: 0:15
Coordinate inizio percorso: 37.69340, 14.98122 
Coordinate fine percorso: 37.69863, 14.97501
Difficoltà: facile
Abbigliamento tecnico: Classica attrezzatura da montagna per ripararsi dal freddo invernale, preferibilmente scarpe da escursionismo per evitare difficoltà legate al materiale lavico presente lungo il percorso
Indicazioni stradali: sentiero naturalistico Rifugio della Galvarina (inizio percorso),14.9789394,17z/data=!3m1!4b1!4m5!3m4!1s0x1316ab2b98eb9283:0x94b35f1f1e0a4133!8m2!3d37.6934212!4d14.9811281 
Mappa sentiero
▴ live set al crepuscolo ▴
▴ dalle 12.00 alle 20.00 di domenica 28 gennaio 2018 ▴

RITMO ha creato, con un processo antico e completamente artigianale, la carta utilizzando le foglie delle querce che crescono alle pendici del vulcano. Seguendo una ricetta antichissima ha poi creato l'inchiostro "Ferro Gallico" con le noci di galla, escrescenze che si formano sulle stesse querce, dovute alla puntura di insetti, con l’aggiunta di scorza di melograno e corteccia fresche e radici, materie prime ricche di acido gallotannico (tannino) , una sostanza chimica importante per la creazione dell’inchiostro. Nei giorni precedenti all'evento, l'artista si è recato al rifugio dove ha realizzato i disegni sul posto. La performance sonora è stata eseguita utilizzando un ipad con alcuni software, un mini Sinth analogico, un vecchio telefono Nokia e alcuni effetti per chitarra collegati ad un piccolo mixer e a due casse. Tutto alimentato a Batteria per l'assoluta mancanza di corrente elettrica. Dopo il tramonto il rifugio in pietra grezza e senza alcuna finestra, è stato illuminato con candele e riscaldato con il camino a legna. Sono intervenute circa 25 persone ed un cane.

Per l'occasione sono state prodette 30 cassette realizzate con la stessa strumentazione usata per il live al rifugio. Prodotte da Inverno recs, ascoltabile online qui:

pictures by Gianluca Normanno

pictures by Alessandro Costanzo