{"id":1265,"date":"2015-02-06T11:12:27","date_gmt":"2015-02-06T11:12:27","guid":{"rendered":"http:\/\/www.artsituacions.com\/?p=1265"},"modified":"2017-05-21T21:22:36","modified_gmt":"2017-05-21T21:22:36","slug":"gabriele-de-santis","status":"publish","type":"post","link":"https:\/\/www.artsituacions.com\/en\/artistas\/gabriele-de-santis\/","title":{"rendered":"Gabriele de Santis"},"content":{"rendered":"<div id=\"authorInfo\">\n<div class=\"c1\"><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.artsituacions.com\/wp-content\/uploads\/2015\/02\/gabriele-santis.jpg\" alt=\"gabriele-santis\" width=\"200\" height=\"200\" class=\"alignnone size-full wp-image-1266\" \/><\/p>\n<ul class=\"tabs\">\n<li><a href=\"#\">Information<\/a><\/li>\n<li><a href=\"#\">Artwork<\/a><\/li>\n<li><a href=\"#\">CV<\/a><\/li>\n<\/ul>\n<\/div>\n<div class=\"c2\">\n<div class=\"panes informacion\">\n<div class='scroll-pane'>\n<h3 class=\"title\">Information<\/h3>\n<p>How will 2015 be preserved and then portrayed by time? What will remain of its language, its symbols and its aesthetic? How will the filter of time represent this historic transition? These are all questions that are hard to answer today. We lack the necessary critical detachment, for we are too closely involved in the creative and constructive process to understand what might become iconographic. Yet Gabriele De Santis&#8217;s poetic vision appears to insist on these themes, with no fear of direct confrontation with the present and with its consequent reinterpretation. The artist does not take from the past, nor does he nostalgically quote from existing sources, but rather adopts the lexicon that accompanies us all, every day, and he creates a lean, alluring portrait of the contemporary world. <\/p>\n<p>The revolution of the transmission of information in our times thus becomes the primary theme of Gabriele De Santis&#8217;s work.The hashtag, which is used to group themes on social networks, where news is increasingly conveyed, has come to the forefront in his works. Carved into blocks of marble, this symbol has become a sort of contemporary hieroglyphic and the opening sign of a modern system of writing that he crystallises in the toughest material, on which the effects of time appear only slowly. But it is also the material that forms the city \u2013 commonly referred to as &#8216;Eternal&#8217; \u2013 where the artist lives. Two very distant symbols are thus brought together to create a deliberate oxymoron that is designed to highlight the process of evolution to which the world is subjected. <\/p>\n<p>But Gabriele De Santis does not simply capture the quintessential symbol of instant communication, for he also encroaches on the sphere of the transmission of emotions in our digital world. Smiles and winks made by combinations of characters appear on marble diptychs and on canvases with wheels on the back, showing how the poetics of feelings have changed. In their immediate and relaxed manner, emoticons now embody what just a quarter of a century ago would have been expressed by a torrent of words. <\/p>\n<p>This incessant movement is what the artist intends to capture, showing it also through the use of popular logos that he takes on loan.The Nike jumpman logo \u2013 also known as the silhouette of Michael Jordan dunking a ball \u2013 and the three parallel stripes of Adidas are recurrent symbols in the artist&#8217;s work, and the images of a society that is constantly forced to perform and always give its best. Gabriele De Santis shows how, both physically and metaphorically, the pillars of history are moved on roller-skates, raising a toast to the present only to start off again on their next rapid march (That&#8217;s how&#8217;s gon&#8217; be, young, wild and free. Not gonna slow down. Up to the max, until we crush, we&#8217;re not gonna stop now, 2014).The titles of Gabriele De Santis&#8217;s works open up a new world of the imagination, and a new layer of interpretation: irreverent, playful, often in the form of personifications, they characterise the works by shifting them onto a higher narrative plane. <\/p>\n<p>Gabriele De Santis questions the codes and all that surrounds us in our everyday lives, on which our time and our consciousness travels, and on which our relationships are based. Which is to say, the translation of a system, the construction of an iconography of the contemporary world and of an aesthetic of the present. <\/p>\n<p>Ilaria Gianni <\/p>\n<p><!--info--><\/p>\n<\/div>\n<style>.scroll-pane{width: 800px;height:350px;overflow: auto;}<\/style>\n<\/div>\n<div class=\"panes aboutWork\">\n<div class='scroll-pane'>\n<h3 class=\"title\">Artwork<\/h3>\n<p>Social media, writing symbols and brackets are an integral part of Gabriele De Santis&#8217;s art, and in his works we find a whole range of signs that are typical of sites like Facebook,Twitter and Instagram. Incorporating unusual juxtapositions of skateboard grips and wheels with more traditional materials such as marble and canvas, De Santis raises issues concerning movement and the instant nature of communication. But there are also themes such as the ambiguity of symbols, the precariousness of human connections and the notion of intimacy in an increasingly digitised world. <\/p>\n<p>For De Santis, the quintessential symbol of data communications is the hashtag coupled with a word, which is generally used on social networks to group together subjects of common interest, earmarking categories within a far broader range of subjects or comments on the Web. <\/p>\n<p>The use of this symbolism is completely contrary to the slow effect of nature, which is inherent in a material like marble.This dialogue, or rather oxymoron, is heightened by the inclusion of skateboard wheels on the back of his canvases. In De Santis&#8217;s view, this is quite simply &#8220;a metaphor to explain the constant evolution of ideas and movement around the creation of a work of art.&#8221; Both the gradual changes affecting marble and the immediacy of symbols taken from the world of skateboarding point to the concept of interrupted movement, ultimately referring to how the world around us is constantly changing. <\/p>\n<p>Many of De Santis&#8217;s recent works transform popular culture into something amusing, such as the use of famous song titles, such as Can&#8217;t take my eyes off you, creating a playful cross- reference to the imagery of the work itself. But there is more, for sometimes the reference is to the very nature of human beings: &#8220;I am interested in anthropomorphising works of art, giving them human attributes,&#8221; explains De Santis, &#8220;for this allows them to have a personality of their own.&#8221; <\/p>\n<p>Gabriele De Santis <\/p>\n<\/div>\n<style>.scroll-pane{width: 800px;height:350px;overflow: auto;}<\/style>\n<\/p>\n<\/div>\n<div class=\"panes cv\">\n<div class='scroll-pane'>\n<h3 class=\"title\">CV<\/h3>\n<p>Gabriele De Santis, Roma, 1983. Vive e lavora a Roma \u2013 Vive y trabaja en Roma \u2013 Viu i treballa a Roma &#8211; Lives and works in Rome <\/p>\n<p><strong><\/p>\n<p>FORMACI\u00d3N \/ FORMACI\u00d3 \/ FORMAZIONE \/ EDUCATION <\/p>\n<p><\/strong><\/p>\n<p>2010 MA Visual Arts, University of the Arts Londra, UK <\/p>\n<p><strong><\/p>\n<p>EXPOSICIONES INDIVIDUALES \/ MOSTRE INDIVIDUALI \/ SOLO EXHIBITIONS <\/p>\n<p><\/strong><\/p>\n<p><strong>2016<\/strong> TBA, Fondazione Sandretto Re Rebaudengo,Torino <\/p>\n<p><strong>2015 <\/strong>TBA, Istituto Italiano di Cultura, Madrid <\/p>\n<p>TBA, a cura di Adam Carr, MOSTYN, Llandudno <\/p>\n<p>TBA, Galerie Valentin, Parigi <\/p>\n<p>Upbeat Heights, JuneFirst, Berlino (doppia personale) <\/p>\n<p>If you have got the feeling jump across the ceiling, Limoncello, Londra <\/p>\n<p><strong>2014<\/strong> On the Run, Istituto Italiano di Cultura, Londra <\/p>\n<p>Dear Los Angeles, ICI in LA, USA <\/p>\n<p>(performance in collaborazione con Alex Ross), L.A. <\/p>\n<p>The Dance Step of a Watermelon While Meeting a Parrot for the FirstTime, Depart Foundation, L.A. <\/p>\n<p>Drop it like it&rsquo;s hot, Galerie Valentin, Parigi <\/p>\n<p>Dear Michael, Frutta, Roma 2013 Which came first, the dice or the dots? Hmmm&#8230; the donut, Limoncello, Londra <\/p>\n<p>Commercial Road Project #6, con Ruth Proctor, un progetto di CURA, Londra <\/p>\n<p>Looking for a madeleine in Baalbek, Galerie Diana Stigter Backspace, Amsterdam <\/p>\n<p><strong>2012<\/strong> Suck My Disney, Frutta, Roma <\/p>\n<p>\n<strong>EXPOSICIONES COLECTIVAS, BECAS Y PREMIOS \/ EXPOSICIONS COL\u00b7LECTIVES, BEQUES I PREMIS \/ MOSTRE COLLETTIVE, BORSE DI STUDIO E PREMI \/ GROUP EXHIBITIONS, AWARDS, CURATORIAL PROJECTS (selecci\u00f3n \/ selezione \/ selection) <\/strong><\/p>\n<p><strong>2015 <\/strong>Why we expect more from technology and less from each other (Verena Dengler, Florian Meisenberg, David Renggli, Gabriele de Santis), Wentrup, Berlino <\/p>\n<p>Italian and British artists meet Milano, a cura di Pietro Di Lecce, The Workbench, Milano <\/p>\n<p>To rectify a situation, Valentin, Parigi <\/p>\n<p>TAVERNA \u2013 We are Open (Icastica 2015), a cura di Ilaria Gianni, Fraternita dei Laici, Arezzo <\/p>\n<p>Un Nouveau Festival, a cura di Florencia Chernajovsky, Centre Pompidou, Parigi <\/p>\n<p>Oh, Of Course, You Were Berry Picking, coorganizzato da Rosa Tyhurst, Drei, Colonia <\/p>\n<p>Fantastica. The way we make art, BeatTricks, Milano <\/p>\n<p>Milk Revolution, a cura di CURA, American Academy in Rome, Roma <\/p>\n<p><strong>2014<\/strong> SMALL Rome, a cura di Adam Carr, Frutta, Roma <\/p>\n<p>The Go-Between \u2013 una selezione di artisti emergenti internazionali dalla collezione di Ernesto Esposito, Museo di Capodimonte, Napoli <\/p>\n<p>La Gioia, a cura di Carole Schuermans, Maison Particuli\u00e8re, Bruxelles <\/p>\n<p>Athletic Valentin, un progetto di CURA, Galerie Valentin, Parigi <\/p>\n<p>Frieze Sculpture Park, Londra De Generation of Painting, Fondazione 107,Torino <\/p>\n<p>Un Rumore Bianco, a cura di Andrea Bruciati, Assab One, Milano <\/p>\n<p>Speedboat, a cura di Alex Ross, Nicelle Beauchene Gallery, NewYork <\/p>\n<p>Dreams that money can&rsquo;t buy, un progetto di CURA, Independent Space, MAXXI, Roma <\/p>\n<p>Borders, a cura di Adam Carr, Artuner.com <\/p>\n<p>OnTheTip Of MyTongue, a cura di Marta Silvi, PalazzoTrinci, Foligno <\/p>\n<p>Arte Coni 100, a cura di Maria Alicata e Bartolomeo Pietromarchi, varie sedi, Roma <\/p>\n<p>Playground, a cura di Maria Alicata e Bartolomeo Pietromarchi, Casa delle Armi, Roma <\/p>\n<p>Yeah and look where it got us, Mon Ch\u00e9ri, Bruxelles <\/p>\n<p>We&rsquo;ve Got Mail, a cura di Adam Carr, Mostyn, Llandudno <\/p>\n<p><strong>2013<\/strong> Private Collection selected by #1 \/ Anneke Eussen, Tatjana Pieters, Gent <\/p>\n<p>Mappa, page 2, a cura di Adam Carr, Nomas Foundation, Roma <\/p>\n<p>Chinese Whispers, CURA, Basement, Roma <\/p>\n<p>Wanna be a masterpiece, a cura di Ilaria Marotta, ISCP, NewYork <\/p>\n<p>Footnotes, a cura di Valentinas Klima\u0161auskas, CAC, Vilnius <\/p>\n<p>Fessure, a cura di Ermanno Cristini, Museo della Ceramica di Cerro, Laveno <\/p>\n<p><strong>2012 <\/strong>We will disappear you, a cura di Adam Carr, Frutta, Roma <\/p>\n<p>Metamorphosis, a cura di Andrea Bruciati, Galleria d&rsquo;Arte Moderna di Udine, Udine <\/p>\n<p>Art-o-Rama, Marsiglia Re-Generation, a cura di Ilaria <\/p>\n<p>Gianni e Maria Alicata, MACRO, Roma <\/p>\n<p>Tutti al Mare&#8230;, Frutta, Roma Premio Moroso per l&rsquo;arte <\/p>\n<p>contemporanea 2010, Menzione speciale, GC.AC, Monfalcone <\/p>\n<p><strong>2011<\/strong> On Stage, a cura di Andrea Bruciati, Verona <\/p>\n<p>Hear Me Out, a cura di Cecilia Casorati e Claudio Libero Pisano, CIAC, Genazzano <\/p>\n<p>Remake Argonauti, a cura di Andrea Bruciati e Alice Ginaldi, Galleria Metropolitana, Gorizia <\/p>\n<p>Beyond &ldquo;Liminal Experience&rdquo;, a cura di Francesco Scasciamacchia, Vault, Prato <\/p>\n<p>Il Ramo d&rsquo;Oro, a cura di Andrea Bruciati e Eva Comuzzi, Fondazione Giovanni da Udine, Udine <\/p>\n<p><strong>2010 <\/strong>Premio Moroso per l&rsquo;arte contemporanea 2010, a cura di Andrea Bruciati, GCAC, Monfalcone <\/p>\n<p>Il Raccolto d&rsquo;Autunno Continua ad Essere Abbondante, a cura di Chiara Agnello e Milovan Farronato, DOCVA, Milano <\/p>\n<p>To be destroyed, 10 Floors Project, a cura di Lucy Woodhouse e Huw Chaffer, Londra <\/p>\n<p>Seven 7 artists | 7 curators, a cura di A. Grulli, C. Corbea, F. Pagliuca, L. Bruni, M.Tagliaferro, M. Farronato, N.Trezzi, Conduits, Milano <\/p>\n<p>La Danse Macabre, a cura degli studenti della John Cabot University, coordinati da Ilaria Gianni, Nomas Foundation, Roma <\/p>\n<p><strong>2009 <\/strong>Emotional Community, a cura diTeresa Macr\u00ec, Monitor  Gallery, Roma <\/p>\n<p>Mi ricordo di noi, a cura di Lorenzo Bruni, Dryphoto Arte Contemporanea, Prato <\/p>\n<p>Usine des r\u00eaves, a cura di Cecilia Casorati, 26cc, Roma <\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<style>.scroll-pane{width: 800px;height:350px;overflow: auto;}<\/style>\n<\/p>\n<\/div>\n<\/div>\n<p><br style=\"clear: both;\" \/> <br style=\"clear: both;\" \/><!--exhibitioninfo--><\/p>\n<h2 class=\"hdrSection\">Artwork in Exhibition<\/h2>\n<div class=\"gallery\">\n\n\t<ul id=\"slideshowgallery39585\" class=\"slideshowgallery39585\" style=\"display:none;\">\n\t\t\t\t\t<!-- From all slides or gallery slides -->\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis6<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis6\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis6.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis6-100x75.jpg\" alt=\"gabrielesantis6\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis4<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis4\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis4.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis4-100x75.jpg\" alt=\"gabrielesantis4\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis1<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis1\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis1.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis1-100x75.jpg\" alt=\"gabrielesantis1\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis3<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis3\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis3.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis3-100x75.jpg\" alt=\"gabrielesantis3\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis9<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis9\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis9.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis9-100x75.jpg\" alt=\"gabrielesantis9\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis5<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis5\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis5.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis5-100x75.jpg\" alt=\"gabrielesantis5\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis7<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis7\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis7.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis7-100x75.jpg\" alt=\"gabrielesantis7\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis8<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis8\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis8.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis8-100x75.jpg\" alt=\"gabrielesantis8\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\n\t\t\t\t<li>\n\t\t\t\t\t<h3 style=\"opacity:70;\">gabrielesantis10<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t<span data-alt=\"gabrielesantis10\">https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis10.jpg<\/span>\n\t\t\t\t\t\t\t\t\t\t<p><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a><img class=\"skip-lazy\" src=\"https:\/\/www.artsituacions.com\/wp-content\/uploads\/2017\/05\/gabrielesantis10-100x75.jpg\" alt=\"gabrielesantis10\" \/><\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t\n\t<div id=\"slideshow-wrappergallery39585\" class=\"slideshow-wrapper\">\n\t\t\t\n\t\t<div class=\"slideshow-fullsize\" id=\"fullsizegallery39585\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div id=\"imgprevgallery39585\" class=\"slideshow-imgprev imgnav\" title=\"Previous Image\">Previous 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