What you feel and see is your own creation…

We are called PLEXUS.

 

"Mytho-Compressionism”.

 

We have extended the compass of vision to include the former observer as participant. We are user friendly.  Use us or lose us.

We are all independent thinkers and dreamers collating our collective visions collaboratively.

Please experience us wisely and with an open heart.

This is open ART.

 

Leonard Horowitz, 1986,New York

George Chaikin and Sandro Dernini in front to Albert Einstein's Home,  Princeton, 1989

George Chaikin's retina

 

The Plexus Art Slavery Manifesto Group Photo Shots compressionist process actually contains duplicates of other group photos, which contain duplicate of other photos of Plexus historical art journey and so on more; The first frame also refers to the second frame through showing it as in a frame, etc., might then be said to quote it directly.

 

 

1988 PLEXUS MANIFESTO ART SLAVERY, HOUSE OF THE SLAVES, GOREE-DAKAR

 

As result from this deconstruction a large quantity of images and texts it was produced which may seem disconnected but instead very interconnected as frames of references of other references, direct verbal and pictorial quotations to be accounted in a proper interpretation  (Then a photograph may actually contain a duplicate of a second photograph; and the first, if it also refers to the second through showing it as in a frame, etc., might then be said to quote it directly

The reading of a Plexus Can raises the problem of measuring an object /subject that is still evolving in non-linear movement and is not in equilibrium. 

 

 

 

Photos by Anna Marceddu

 

 

 

 

 

 

Th 1988 Plexus Art Slavery Group Shot Manifesto Roma, Metateatro became the Plexus compressionist fractal frame.

 

The reading of a Plexus Can raises the problem of measuring an object /subject that is still evolving in non-linear movement and is not in equilibrium, made by frames of frames of Plexus art references, like a Plexus fractal.

 

 

The Plexus group photo compressionist process actually contains duplicates of other group photos, which contain duplicate of other photos of Plexus historical art journey, which contains other photos,and again and again... other frames to be decoded in an endless Plexus recalling process.

With a message to be coded and decoded in an endless process of description. As a serpent eating its own tail, A Plexus Can is transforming itself in the process.

The interpretation of its pictorial representation has gradually shifted from the object to the subject. What is seen depends upon who is looking at it.  

 

 

MY SELF INSIDE? MY SELF OUTSIDE?

WHO IS THE OBJECT? WHO IS THE SUBJECT?

 

THE ARTIST? THE ART MARKET? THE PLANET? US?

 

SHIFTING NOW:  Who is the subject? 

and who is now the object?

 

To start to answer to these questions, I applied lessons from my 1988 NYU Literature and the Arts course, in which the Alain's drowing came out as my main frame of reference to understand and to learn on how art was tought in the art schools to be studied and applied by future artists and art professionals.

 

 

From 1988 to 2024, I created several art installations with the 100 original Campbell's Soup Cans, with forms of  Pyramids, reppresenting the Art Stars System, and Nuragic Towers, repprenting the Art Community.

 

The necessity to create or to invent a new object or substance and related system of intelligibility depends on the momentum of that specific epoch. Just as there was a need to invent a food with a long shelf life.

Plexus Can was invented by me as an original work of art, an attempt at art with a long shelf life.