NUMBER ZERO OF THE 100 PLEXUS CAMPBOLL'S SOUP CANS LIMITED EDITIONS

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 a birthday homage, for Glaucia Coelho DemenjourIn the number zero for Glaucia Coelho Demenjour.

From 1988 to 2024, I tried many times to  understand how to fill these 100 Plexus Cans, but it was too much for me, by being too much involved into it. Then, only for Art Love, 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.

MI DENTRO/MI FUORI - MYSELF INSIDER/MYSELF OUTSIDER

I was forced by ARTLOVE to define how to fill these Plexus cans by taking into account the history from where they were coming from, in which I was part, in the first person, as an insider as well as an outsider.

DIRECTIONS-EATING ART

Plexus FoodArt High ElectromagneticIntentional ART Food

The consumption of “Art” by the human corpus can be conceived as a digestion of “Food”, by which the corpus is nourished by art, participating in the general metabolism of the human corpus.

PLEXUS FOODART INTERNATIONAL

“FoodArt” is digested into neurophysiological reactions which affect the anabolism and catabolism processes of the human corpus. Through the digestion of foodART the METABOLIC, ionic process will supplies ”ARTEnergy” for the vital activities of the human corpus. Plexus FoodART will be connected, through all its cellular parts, by the SOLAR plexus networking system of blood vessels, lymphatic fluids, and nerves.

Consequently the solar PLEXUS, interlated to a complex of PLEXUS, are connecting billions and billions of individuals cells as a whole living organism, the human being, able of reproduction, of growing, of modifications of thinking, and transmitting culture.

EATING THE HISTORY OF PLEXUS ART JOURNEY 1982-2024

INGREDIENTS: 

THE HISTORY OF MODERN ART

Volume 1 

 PHD NEW YORK UNIVERSITY AESTETIC INQUIRY INTO THE PLEXUS BLACK BOX BY SANDRO DERNINI

On the internal side of the Can I glued a cent coin painted in yellow as money art, glued next to the cover of the 1987 Dematerialization of Art Symposium at New York University,. Next to them I glued a collage of a middle ages vivisected body of an alive prisoner opened by the medical school, with different faces of myself watching the opening. 

“ART” as an intentional invisible HIGH electromagnetic "FOOD"

Inside the can, on the bottom,  a 1981 original photo of Sandro by Lynne Kanter.  1981 TIME CAPSULE NUMBER ZERO.

In 1980, I moved from Rome to New York, where I lived in a great loft in Broome Street, in Soho. I started to give funny parties to meet creative people to start to know the cultural and artist life in New York. Then, in 1981,  I opened with Luigi Ballerini, at that time director of the NYU Italian Programme ,  the Center for Italian Contemporary Culture. As executive director, I organized the programme "THE ARTIST IN THE FIRST PERSON", with Italian independent artists, managening their own presentations.

 After, in 1982/83 I opened Plexus International performace space, in Chelsea.

Then, 1984 I was forced to close the Plexus performance space and I opened the Shuttle Theatre/Lab in the Lower East Side. 

and then Plexus art journey departed and I am still on board.