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Number Zero PLEXUS CAMPBOLL'S SOUP CANS, 100/100 Limited Editions by Plexus 23S Aka Dr. SANDRO DERNINI, Sorano, Maremma 2025
In August 2025, I placed myself inside the number zero of the 100 Plexus Campboll's Soup Cans Limited Editions, watching myself, subject and object at the same time. as a vivisected body of art.
On 18 February 1987, in New York, at the Patrizia Anichini Gallery, I RITUALLY performed
DO YOU THINK THAT IT IS POSSIBLE TO EAT ANDY WARHOL BY EATING A CAMPBELL'S SOUP CAN?
as an aesthetic inquiry for my PhD course E90.2605 on Phenomenology and the Arts at New York University, directed by prof. David W. Ecker, to achieve a basic knowledge of the literature of phenomenological aesthetics and skills in phenomenological inquiry in the arts.
I prepared my phenomenological performance, by being inspired for moving forward my NYU Ph.D inquiry on "ART AS FOOD", by the symposium The Dematerialization of Art, organized the day after at New York University by Angiola Churchill and Jorge Glusberg, co-directors of ICASA (International Center for Advanced Studies in Art), where I was working as a graduate assistant of prof. Churchill, chair of the NYU Art and Art Education Dept.
Invited artists were Willoughby Sharp, Helen Valentin, Bernd Naber, Franco Ciarlo, Donald Sheridan, Peter Grass, Lynne Kanter, Souyun Yi, Carol Drury, Amy Paskin, Christian Chiansa, and the host Patrizia Anichini.
From the questionnaires, came out that the majority of the participants believed that they "ate" Andy Warhol.
Few nights after, on 22 February 1987, Andy Warhol died!
What does a
the zero number Plexus Campboll’s Soup Can contain?
Plexus Interpretation is not static. It is formed by the momentum of the rhythm of our experience and of its correlations. Each reader has his/her own angle of interpretation depending upon his/her personality, education, and culture. No method can transcend the interpreter's own historicity.
The content of a Plexus
Campboll's Soup Can changes
from Can to Can.
On the internal side of the number zero Plexus Can, I glued one cent coin, painted in yellow, as money art RECALL of the 1986 Plexus art opera n.3 "EVE, Escape for Donna Purgatorio from Anno Domini", held in the New York Lower East Side CUANDO, next to the 1987 cover brochure Dematerialization of Art Symposium, at New York University.
Next, I glued a collage of a middle ages vivisected
body of an alive prisoner, studied by the western
medical school, with different faces of myself
glued on the academic faces watching the
opening of my living body for a better
undestanding my body funzionament.
Inside the can, on the bottom, I placed my 1981 original photo, made by Lynne Kanter, as my Time Capsule Number Zero.
I moved from Rome in New York in 1980 and in 1981 I started the Center for Italian Contemporary Culture of the New York University, organizing The ARTIST in the FIRST PERSON, a programme made with Italian independent artists, producing their own presentations.
EATING THE NUMBER ZERO OF THE 100 PLEXUS CAMPBOLL'S SOUP CANS LIMITED EDITION IS
EATING THE HISTORY OF PLEXUS ART JOURNEY 1982-2024
ingredients is my
PHD NEW YORK UNIVERSITY AESTETIC INQUIRY INTO THE PLEXUS BLACK BOX
This number zero allowed me to make progress in the challenge of moving in filling the number 1 of my 100 Plexus Campboll's Soup Cans Limited Editions, an original intentional contemporary artist attempt , with the ambition to have a long shelf life in contemporary art history.
I packaged my zero number Can inside a wicker basket handmade by Fabrizio Perini, the basket maker of Sorano, Tuscany Maremma, where it is now located Plexus International Archives. I was inspired by my 1993 NYU course on "Living Traditions in Arts" by prof. David W. Ecker.
After 37 years, since when in 1988 I conceived the 100 Plexus labels,
I placed myself inside of the number zero of my 100 Plexus Camboll's Soup Cans Limited Editions, only by Art Love, as my birthday homage to Glaucia Coelho Demenjour.
PLEXUS onde di trasformazioni…
Un tuffo in Plexus, aaaa!bruuu!humm!rido!mi guardo intorno, ritorno sulla riva, un sguardo e, mi rituffo, ripresa da una ondata che ti fa sbattere contro la sua corrente forte, debole, che si trasforma e, poi si calma, profitto!salgo a galla un po’ d’aria respiro, la testa si gira e si rigira, lo sguardo è verso l’orizzonte e dintorno, si vedano gli altri, per fortuna!no sono sola! che ondata, tutti li a raccontare il loro “tuffo”. Mi ributto in questa onda che si trasforma e, ti lasci portare nelle sue dolce carezza, aspre, fredda, caldo, lasci il corpo e l’anima pronta, non proprio pronta! mah! ti prende…sono li per caso? Mah!per caso? Si per caso! e va bene! invece anch’io ero li a raccontare ben poco, ma ero li! anche per imparare, come per andare a scuola. All’interno tante porte, finestre, tunnel, pilastri, muri e tante storie; starci dentro ci si passa per piccoli ostacoli, codice, scritti, storia, giochi da montare e costruire.
Storie vissute, documentante, artisti in prima persone, opere, lettere, fotografie, oggetti, racconti, umani, terra, cibo, animale, musica, viaggi, notizie, fame, luce, amore, famiglia, amici, arte, fobie, dolore, guerra, schiavitu, cinema, insomma si parla di tutto e di tutto si parla. Ci si condivide con complicita’ e spontanea liberta’di espressione. Quale Plexus, con il suoi 30° Aniversario, meriterebbero l’onore d’essere una materia da studiare.
Semplicemente una piccola metafora di questo piccolo diagramma per il quale poi ci fa parte d’essere. Sei dentro, meno male che si scivola pure, in un’ altalena grande, tutti vogliamo e possiamo scivolare insieme, sono tanti percorsi belli
Glaucia Coelho Demenjour, Roma, Dicembre 2012
PLEXUS wave of transformations ...
A dip in Plexus , aaaa ! Bruuu ! Humm ! Laugh ! I look around, return to the shore, a glance, and I dip back , picked up by a wave that makes you bump into its current strong, weak , which is transforming itself and, then it calms , I profit! ascend to the surface, a little ' breathing air , the head turns and re-turns , my eyes are toward the horizon and surroundings, see the others , thankfully! I am not alone ! What wave , all theew, all to tell their " dip " . I throw them back in this wave which is transforming itself and you go with in her gentle caress , harsh , cold , hot, leave the body and soul ready , not quite ready! mah ! with you ... are there by chance ? Mah ! By chance? It is by chance! and that's okay ! instead I was there to tell very little, but I was there ! also to learn , like to go to school . Inside, many doors , windows , tunnels , pillars , walls and many stories ; fit inside one passes through small obstacles , codes, writings, history , games to assemble and build .
Truth Stories, documented, artists in the first person, artworks, letters, photographs, objects, stories, humans, earth, food, animals, music, voyages, news, hunger, light, love, family, friends, art, phobias, pain, war, slavery, cinema, in short, we talk about anything and everything talks. We share with complicity and free spontaneous expression. Plexus , with its 30 ° Aniversario , would deserve to be a subject to be studied.
Just a small metaphor of this little diagram for which, then, it makes us being part of it. We are in , luckily it slide as well, in a big swing . All we want and we can slide together there are many beautiful routes.
Glaucia Coelho Demenjour, Rome , December 2012
THE VOYAGE CONTINUES... with the number 1 coming soon
1982/1983/1984, TIME CAPSULE 1: TIME FRAMES
1982: I opened Plexus International performace space, in Chelsea.
1983: I managed and directed Plexus International performace space, in Chelsea.
1984 I opened the Shuttle Theatre/Lab in the Lower East Side.
Then Plexus art journey departed and...... I am still traveling on board.
I started to fill my zero number with the Plexus history, from where they come, in which I WAS in the first person living the experience, in which I AM right now, and in which I WILL BE forever, an insider as well as an outsider.
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