CHATGPT 

EXPLORATIVE NAVIGATION  ON EATING

ANDY WARHOL DEMATERIALIZED BY EATING A

PLEXUS CAMPBOLL'S SOUP CAN

 

“Eating Andy Warhol is a radical moment in art history reborn for the digital age — a performative act that transformed art consumption into a communal experience. Originally conceived within the Plexus International network, it invites today’s audience to question: what happens when the art object and the artist merge into one edible idea?”

How to present The plexus event on eating Andy Warhol to be promoted to a broader audience?

ChatGPT ha detto:

That’s a great question — Eating Andy Warhol is a fascinating and provocative performance, and it has strong potential to connect with a much wider public if framed strategically.

Here’s how you could present and promote it effectively to engage both art professionals and general audiences::

1. Frame It as a Cultural Dialogue, Not Just a Performance

Position Eating Andy Warhol as a living dialogue about art, consumerism, and identity — not just a historical avant-garde action.
Example tagline:

“When art becomes food: Eating Andy Warhol — a performance about consumption, creativity, and the price of fame.”

This lets new audiences see it as relevant to contemporary culture, not just a 1980s art happening.

2. Connect Warhol’s Legacy to Today’s “Consumption Culture”

Draw parallels between Warhol’s exploration of mass production and today’s world of digital consumption, influencers, and AI-generated art.

You might use language like:

“From Campbell’s Soup to Instagram feeds, what do we consume — and what consumes us?”

This bridges the historic and the now, attracting young people and media interest.

3. Use Plexus’ Collaborative Spirit

Highlight that Eating Andy Warhol was part of Plexus’ open art network, where artists, scientists, and communities co-created experiences.
Promote it as:

“A collective act where art leaves the gallery to become a shared ritual.”

This appeals to today’s emphasis on participatory art and community engagement.

4. Visual and Digital Storytelling

To engage social media audiences:

• Use striking imagery: archival photos of the event + modern reinterpretations (like re-enactments, animations, or AI-generated versions).

• Create short reels or TikToks with phrases like:

• “Would you eat art?”

• “In 1986, artists didn’t just admire Warhol — they ate him.”

• “A performance that digested pop culture.”

This creates curiosity and shareability.

5. Public Events or Reenactments

Consider a contemporary reinterpretation or “ritual reenactment” of Eating Andy Warhol:

• Invite artists, chefs, and cultural scholars to “digest” Warhol metaphorically (through art, food, or discussion).

• Stream it live or host in a museum, art fair, or community center.

Label it a “performative symposium” — merging art, performance, and critical conversation.

6. Collaborate with Museums, Universities, and Digital Art Spaces

Partner with:

• Pop art institutions or archives (Warhol Museum, MoMA)

• Universities with performance art or media studies programs

• Online platforms (e.g., digital exhibitions or NFT reinterpretations)

Frame Eating Andy Warhol as part of the ongoing legacy of Plexus International — connecting 1980s experimental art with today’s hybrid realities.

7. Press and Messaging

A press release or exhibition description could read:

“Eating Andy Warhol is a radical moment in art history reborn for the digital age — a performative act that transformed art consumption into a communal experience. Originally conceived within the Plexus International network, it invites today’s audience to question: what happens when the art object and the artist merge into one edible idea?”

 

Hai detto:

how to promoted more the shared ritual art value of eating Andy Warhol?

ChatGPT ha detto:

To promote more effectively the shared ritual art value of Eating Andy Warhol, you should shift the focus from the spectacle of the performance to the collective symbolic act that defines it — the transformation of art into a participatory, communal experience. Here’s a strategy and a short promotional statement you can use:

Strategy to Emphasize the Shared Ritual Value

1. Reframe the Act as a Ritual of Connection
Present Eating Andy Warhol as a metaphoric communion — an act where participants symbolically “digest” the art system, fame, and consumer culture.

• Emphasize the sharing, not the shock.

• Position it as a collective rite of creative renewal, where art is not consumed individually but shared as nourishment.

2. Invite Collective Reinterpretation
Encourage museums, universities, and community spaces to host participatory re-enactments or workshops, where participants reinterpret what it means to “eat” or “share” art today — through food, performance, or dialogue.

3. Use Ritual Aesthetics in Presentation
In visuals, emphasize circles, tables, offerings, and communal gestures — symbols of equality and participation.
Promotional materials could reference ancient banquets or rituals of sharing, linking the event to timeless human practices.

4. Create Multi-Sensory Engagement
Connect art, food, and conversation in the same space. Use sound, taste, and interaction to make the audience feel they are part of the artwork, not spectators.

5. Articulate the Metaphor Clearly
Use messaging that explains:

“To eat Andy Warhol is to share in the myth of art, to transform the icon into nourishment for a new collective creativity.”

Short Promotional Text (150 words)

Eating Andy Warhol — A Shared Ritual of Art

Eating Andy Warhol is not just a performance — it is a shared ritual. Originating within the Plexus International art movement, it transforms the act of consumption into a collective gesture of creative communion.

In this symbolic feast, Andy Warhol — the artist who made consumption a form of art — becomes the metaphorical offering.

By “eating” art, we dissolve the boundary between creator and audience, between object and experience.

Each participant becomes part of a living network of exchange, echoing the Plexus vision of art as an open system of participation.

Today, this ritual invites us to reflect on how we consume culture — and how, through sharing, we might restore art’s power to connect, nourish, and transform for all the growing  not sustainable our way of living life with the planetary bounders.

---

Would you like me to tailor this version separately for museum, university, and community contexts, showing how the ritual value can be framed differently in each setting?

Hai detto:

for the moment it is fine, in a second moment thank

ChatGPT ha detto:

Perfect — I’m glad it works for now. When you’re ready to adapt it for museums, universities, or community contexts, I can help you shape each version with the right tone and outreach strategy.

Would you like me to keep this focus — the shared ritual and symbolic value of Eating Andy Warhol — as the main conceptual core for future promotional materials?

Hai detto:

yes perfect!!

ChatGPT ha detto:

Wonderful! ? I’ll keep that as the central thread — the shared ritual and symbolic communal value of Eating Andy Warhol — so everything we develop later (texts, visuals, presentations, or partnerships) will resonate with that essence.

When you’re ready, we can build the next phase:

• Museum version: emphasizing cultural heritage and performative documentation.

• University version: focusing on art theory, semiotics, and participatory research.

• Community version: highlighting collective creativity, inclusion, and local rituals.

Would you like me to prepare a simple outline of these three directions next time, so it’s ready when you decide to expand?

Hai detto:

yes thanks

ChatGPT ha detto:

Perfect! I’ll have that outline ready whenever you’re ready to move forward — it will clearly show how to present Eating Andy Warhol’s shared ritual value for museums, universities, and communities.

We can make it practical, with messaging, activities, and visual ideas for each context so it’s easy to implemen

Would you like me to draft a short promotional statement or exhibition text (around 150 words) to use for a website or flyer? I can make it sound contemporary while staying true to the original Plexus philosophy.

Hai detto:

how to promoted more the shared ritual art value of eating Andy Warhol?

ChatGPT ha detto:

To promote more effectively the shared ritual art value of Eating Andy Warhol, you should shift the focus from the spectacle of the performance to the collective symbolic act that defines it — the transformation of art into a participatory, communal experience. Here’s a strategy and a short promotional statement you can use:

Strategy to Emphasize the Shared Ritual Value

1. Reframe the Act as a Ritual of Connection
Present Eating Andy Warhol as a metaphoric communion — an act where participants symbolically “digest” the art system, fame, and consumer culture.

• Emphasize the sharing, not the shock.

• Position it as a collective rite of creative renewal, where art is not consumed individually but shared as nourishment.

2. Invite Collective Reinterpretation
Encourage museums, universities, and community spaces to host participatory re-enactments or workshops, where participants reinterpret what it means to “eat” or “share” art today — through food, performance, or dialogue.

3. Use Ritual Aesthetics in Presentation
In visuals, emphasize circles, tables, offerings, and communal gestures — symbols of equality and participation.
Promotional materials could reference ancient banquets or rituals of sharing, linking the event to timeless human practices.

4. Create Multi-Sensory Engagement
Connect art, food, and conversation in the same space. Use sound, taste, and interaction to make the audience feel they are part of the artwork, not spectators.

5. Articulate the Metaphor Clearly
Use messaging that explains:

“To eat Andy Warhol is to share in the myth of art, to transform the icon into nourishment for a new collective creativity.”

 

Hai detto:

how to promote more the simbolic metaphoric shared ritual of eating Andy Warhol into a Plexus Campboll's can?

ChatGPT ha detto:

To promote the symbolic, metaphoric shared ritual of Eating Andy Warhol into a Plexus Campbell’s can, you can frame it as a participatory, living artwork — a contemporary ritual of reflection on art, identity, and collective memory. Here’s a strategy to make its symbolic and communal value visible and compelling:

1. Use the Campbell’s Can as a Modern Relic

Recast the Plexus Campbell’s can as a container of shared memory — not of soup, but of cultural digestion.

• Present it as an “art reliquary”, holding the essence of Warhol’s pop myth and Plexus’ collaborative spirit.

• You could create limited editions of cans filled with messages, small art pieces, or QR codes linking to videos of past performances — turning each can into a token of participation.

“Each can is a ritual object — a vessel where art, consumption, and community are preserved and reimagined.”

2. Reenact the Ritual as a Shared Experience

Organize a collective ritual performance — physical or digital — where participants symbolically “eat” or “digest” the myth of Warhol through art, conversation, or food.

• Use performative dining, storytelling, or digital participation (e.g., sharing “Warhol bites” online — short creative responses).

• Frame it as an inclusive ceremony of art digestion, blending irony and reverence.

3. Highlight the Metaphor of Consumption

Promote the act of “eating” as a metaphor for how contemporary culture consumes and reproduces images, fame, and ideas — just as Warhol did.

“In the Plexus can, we don’t just eat Warhol — we digest the culture he created.”

This approach speaks to modern audiences who live in an age of digital overconsumption and identity branding.

4. Use Multi-Sensory and Cross-Media Storytelling

• Exhibit the Plexus Campbell’s Can alongside video archives, sound art, or augmented-reality experiences where people can “open” the can virtually to reveal layers of meaning.

• Include testimonies from original Plexus participants to strengthen its mythic continuity.

5. Build a Narrative of Shared Legacy

Frame Eating Andy Warhol as a ritual of belonging to the extended Plexus community, a metaphor for unity in creative diversity.

“To open the can is to open the collective memory of art — a gesture of connection across time, artists, and audiences.”

Encourage new participants to add their own “ingredients” — drawings, videos, poems — expanding the ritual.

6. Promotional Language Example

Here’s a concise text you could use on a flyer or website:

Eating Andy Warhol — Inside the Plexus Campbell’s Can
A symbolic, participatory ritual where the act of “eating” becomes a metaphor for art, consumption, and rebirth. Born from the Plexus International network, this contemporary rite transforms the iconic Warhol can into a vessel of collective memory. Each can opens to reveal a shared story — inviting artists and audiences to digest, reinterpret, and renew the art of living together.

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Would you like me to help you write a short exhibition or performance proposal (around 200–300 words) to present this concept to a museum or cultural center? It could focus on the ritual’s symbolic and communal dimension while connecting it to Plexus’ historical legacy.

Hai detto:

yes please provide proposal

ChatGPT ha detto:

Here’s a refined proposal draft you can use or adapt for an exhibition, performance, or cultural presentation of the Plexus Campbell’s Can / Eating Andy Warhol project:

Proposal Title:

Eating Andy Warhol — Inside the Plexus Campbell’s Can
A Shared Ritual of Art, Memory, and Consumption

Concept Overview

Eating Andy Warhol — Inside the Plexus Campbell’s Can reactivates a seminal moment in the history of the Plexus International art movement: the collective ritual of “eating” Andy Warhol as an act of symbolic and artistic digestion.

This symbolic act, born in the 1980s, is reimagined today as a living, participatory artwork exploring how we consume and reproduce culture, identity, and art itself.

Reimagined for contemporary audiences, this project transforms the iconic Campbell’s can — once a Pop Art emblem — into a Plexus vessel for collective memory and creative renewal.

The can becomes a metaphoric container of cultural energy, holding the spirit of collaboration, irony, and transformation that defines Plexus.

Through performance, dialogue, and participation, audiences are invited to “open” the can and engage in a shared reflection on how art, fame, and consumption continue to shape our identities in the digital age.

The Campbell’s can, transformed into a Plexus vessel, becomes a metaphor of collective digestion — a container of creative energy, collaboration, and renewal.

In opening the can, we open a dialogue: between Pop Art and performance, between past and present, between art as object and art as shared experience.

 

Artistic and Cultural Objectives

• To reaffirm the shared ritual value of art as a collective process rather than a commodity; To reaffirm the ritual and communal value of art as a process of shared transformation.

• To explore consumption as metaphor — how society ingests and reproduces icons, from Warhol’s Pop Art to contemporary social media culture; To explore the metaphor of consumption — how we “eat” culture, icons, and ideas in both physical and digital forms.

• To reactivate the Plexus ethos of open collaboration among artists, scientists, and communities; To revive the Plexus spirit of interdisciplinary collaboration among artists, scholars, and communities.

• To create a living archive of participant contributions — written, visual, or performative — symbolically sealed within new “Plexus cans” as contemporary relics; To create a living, participatory archive of reflections, performances, and artworks — symbolically sealed in new “Plexus cans” as contemporary relics of our collective imagination.

 

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Proposed Format and Activities

The project may unfold as a multi-sensory installation and participatory event combining:

• A sculptural display of Plexus Campbell’s cans as ritual objects.

• Archival documentation of the original Eating Andy Warhol performance.

• A live or recorded collective action — a “shared meal of ideas” — inviting participants to contribute artistic or symbolic ingredients.

• Digital or AR elements allowing audiences worldwide to “open” a virtual can and add their creative responses.

The project can be adapted to different contexts — museum exhibition, university symposium, or community art festival — with the following core elements:

 

1. Installation and Archive

A sculptural display of Plexus Campbell’s cans, archival photographs, and documents from the original Eating Andy Warhol event.
Museums can highlight the historical lineage and conceptual evolution of the work.

2. Performative Action / Shared Ritual

A live or recorded event inviting participants to “digest” Warhol symbolically — through food, conversation, or creative action.
Universities can turn this into a performative research laboratory; communities can adapt it as a public art ritual.

3. Participatory and Digital Component

Participants contribute their own “ingredients” — drawings, videos, writings — reflecting on what they “consume” culturally today.

These can be sealed in Plexus cans or uploaded into a digital archive or AR experience, allowing the ritual to continue globally.

 

Significance and Impact

Eating Andy Warhol — Inside the Plexus Campbell’s Can merges memory and innovation, performance and pedagogy, community and creativity.

It bridges the historic avant-garde with today’s participatory art practices, reaffirming Plexus International’s vision of art as a shared, open network of human energy.

By inviting everyone — artists, students, and the public — to take part in this symbolic ritual, the project transforms the simple act of “eating” into a profound gesture of cultural reflection and collective rebirth

This work bridges historical avant-garde performance and today’s global digital culture. It invites us to digest the myths of modern art and to rediscover art as a communal act of transformation — a process of nourishing, questioning, and reimagining what connects us.

Would you like me to adapt this version for a specific context — for example, a museum exhibition, a university event, or a community art festival?

I can tailor the tone and structure accordingly.

Hai detto:

for all three museum,university and community

ChatGPT ha detto:

Perfect — here’s a unified, adaptable version of the proposal that you can use for museums, universities, or community art spaces.

It’s written so that each audience can find its connection: museums see the conceptual and archival depth, universities see the educational and research dimension, and community centers see the participatory and social value.

 

Would you like me to draft a short promotional statement or exhibition text (around 150 words) to use for a website or flyer?

I can make it sound contemporary while staying true to the original Plexus philosophy.

Short Promotional Text (150 words)

Eating Andy Warhol — A Shared Ritual of Art

Eating Andy Warhol is not just a performance — it is a shared ritual. Originating within the Plexus International art movement, it transforms the act of consumption into a collective gesture of creative communion. In this symbolic feast, Andy Warhol — the artist who made consumption a form of art — becomes the metaphorical offering.

By “eating” art, we dissolve the boundary between creator and audience, between object and experience.

Each participant becomes part of a living network of exchange, echoing the Plexus vision of art as an open system of participation.

Today, this ritual invites us to reflect on how we consume culture — and how, through sharing, we might restore art’s power to connect, nourish, and transform.

 

Would you like me to draft a short promotional statement or exhibition text (around 150 words) to use for a website or flyer? I can make it sound contemporary while staying true to the original Plexus philosophy.

 

Would you like me to tailor this version separately for museum, university, and community contexts, showing how the ritual value can be framed differently in each setting?

Hai detto:

for the moment it is fine, in a second moment thank

ChatGPT ha detto:

Perfect — I’m glad it works for now. When you’re ready to adapt it for museums, universities, or community contexts, I can help you shape each version with the right tone and outreach strategy.

Would you like me to keep this focus — the shared ritual and symbolic value of Eating Andy Warhol — as the main conceptual core for future promotional materials?

Hai detto:

yes perfect!!

ChatGPT ha detto:

Wonderful! ? I’ll keep that as the central thread — the shared ritual and symbolic communal value of Eating Andy Warhol — so everything we develop later (texts, visuals, presentations, or partnerships) will resonate with that essence.

When you’re ready, we can build the next phase:

• Museum version: emphasizing cultural heritage and performative documentation.

• University version: focusing on art theory, semiotics, and participatory research.

• Community version: highlighting collective creativity, inclusion, and local rituals.

The Plexus Art Movement — often called Plexus International — is an interdisciplinary and collaborative art network that began in New York City in the early 1980s. It was founded by Sandro Dernini along with a diverse group of artists, musicians, scientists, and performers.

Here’s an overview of what defines the movement:

Origins & Philosophy

• Founded: Early 1980s, in New York’s East Village art scene.

• Founder: Sandro Dernini, an Italian artist and cultural organizer.

• Philosophy: Plexus means “network” or “connection” in Latin — reflecting its goal to connect art, science, and community through open, cooperative creativity.

• It views art as a living process, not a finished product — a “social sculpture” involving people, cultures, and disciplines.

Main Ideas

• Interdisciplinary Collaboration: Merges visual art, performance, music, science, and technology.

• Art as a Network: Focuses on connectivity among artists worldwide — a “global village” of creativity.

• Freedom and Human Rights: Plexus often uses art to advocate for cultural freedom, diversity, and peace.

• Art Co-Management: The idea that art belongs to the community, not to institutions or markets.

Key Events & Projects

• “Plexus Black Box” (1980s–1990s): A symbolic container representing collective memory and creativity.

• “Eating Art” Series: Performances blending food, art, and ritual — e.g., “Eating Andy Warhol”, exploring consumption of art and culture.

• International Collaborations: Activities across New York, Rome, Sardinia, Dakar, and other cities, linking artists from many backgrounds.

Influence

Plexus anticipated today’s network-based and participatory art forms. It bridges conceptual art, performance, and social practice, emphasizing community engagement and intercultural dialogue.

Would you like me to describe one of its key projects, such as “Eating Andy Warhol” or the “Plexus Black Box”?

 

Weaving Connections: The Plexus Journey

The Genesis of Plexus
In the vibrant art landscape of New York in the early 1980s, a diverse group of artists from various disciplines and backgrounds came together under a shared vision of experimental collaborations. Limited by the constraints of the art market, Plexus was founded as a time where artistic expression knows no boundaries by challenging definitions and art categories  of the art world.

The Expanding Horizon
As the 1980s unfolded, Plexus expanded its reach beyond New York, establishing hubs in cities like Rome, Dakar, Cagliari, Gavoi and Carloforte, in Sardinia, and Cairns in Australia. This period marked the beginning of an art movement that emphasized interconnectedness among artists and communities, unlocking creative potential for collective awareness and fostering a shift in the use of human and natural resources.

This eclectic collaborative mix has become the hallmark of Plexus's artistic events, creating an atmosphere full of inspiration, where ideas flowed freely like a river in the creation of a unique form of collaborative art known as "Plexus Art Co-Opera." 

 

The Art Co-Operas have been the distinctive feature of Plexus's journey, uniting diverse communities of artists with varying visions and artistic forms, while also providing opportunities for art networking among the public on pressing issues such as human rights, peace, biodiversity loss, desertification, and the value of cultural diversity. Through collaborative initiatives called “Art-Co-Operas,” artists experimented with new ideas, blending different cultural elements, scientific theories, and artistic expressions.

 

In 2008, it was launched the Plexus Call for the Safeguarding of Cultural and Natural Heritage of Humanity from the House of Slaves in Goree, Dakar, symbolizing the erosion of our historical memory and all form of ancient and contemporary slavery.

Confronting Global Challenges
In the early 2000s, as the world faced increasingly pressing issues—climate change, cultural erasure, and social injustice—Plexus responded by organizing international events such as Erosions and Renaissance Shows, along with the voyage of the Plexus Metr'Art. These initiatives sparked dialogue and action, urging artists to harness their creativity to tackle global challenges. The creation of the monumental Plexus Metr'Art emerged as a symbolic representation of unity and collaboration, showcasing contributions from hundreds of artists worldwide.

Over the years, sperimental communication and digital art exchanges have been explored within the Plexus art journey. 

The Mediterranean Revival
In the mid-2000s, the Forum on Mediterranean Food Cultures in Rome became a Plexus beacon for revitalizing and strengthening community ties through shared culinary and artistic experiences. By promoting sustainable food practices as a means of community development, cross-cultural dialogues and collaborations among artists, scientists, chefs, and activists were fostered, illuminating the profound connections between art, cultures, food, and sustainability.

A New Artistic Environment
As Plexus entered its fifth decade, its mission evolved to create a new “art environment” where artists serve as both creators and consumers, co-producing their work. This model transformed the relationship between artists and their creations, promoting independence while encouraging collaboration. The organization empowered artists to explore the intersection of art, science, technology, and global markets, fostering a unique space for innovative experimental expression.

The Journey Continues
Now rooted in Sorano, Tuscany, Italy, Plexus International's journey is ongoing, fostering creativity, dialogue, and connection across communities. Through diverse exchanges, they weave a rich tapestry of voices and visions. As the collective dreams of artists expand, Plexus remains committed to nurturing sustainable cultural practices, advocating for social justice and peace, and celebrating the transformative power of art in all its forms.

 

The journey continues, with each new project and partnership enriching the vibrant narrative of interconnectedness, resilience, and shared humanity.

 

From 1983 to 2023, Plexus has carried out numerous collaborative projects and events in various parts of the world, bringing together musicians, visual artists, performers, poets, theatre actors, dancers, playwrights, scholars, and community activists. These projects have involved both established names and emerging artists. These events, which have characterized Plexus's journey and included over 1,000 artists, remain an unexplored part of contemporary art history. 

With over 1,000 artists from around the world participating in its initiatives, Plexus International stands as a testament to the enduring power of collaboration and creativity in art.  

This is an extensive and incredibly rich chronology of Plexus events, illustrating its remarkable scope, thematic consistency, and international reach over decades.

To identify the "relevant" events, I'll focus on those that appear to be:

• Foundational: Marking the establishment of key spaces or concepts.

• Major Artistic/Thematic Statements: Introducing core ideas, large-scale performances (art operas), or manifestos.

• International Expansions: Marking Plexus's presence in new significant locations.

• Interdisciplinary Highlights: Emphasizing the art & science blend.

• Recurring/Signature Events: Showing the evolution and continuity of key themes.

• Events featuring named key figures: Especially those previously discussed (Algarín, Dernini, Schiaffini, Parker, Chaikin, Meloni, Brugman, Morris).

Here is a selection of Plexus art events that could be considered particularly relevant from your list, categorized for clarity:

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Foundational & Early New York Events (1983-1986)

1. April 19, 1983, New York, Chelsea: Opening of Plexus performance space.

• Relevance: Marks the very beginning of a dedicated physical space for Plexus in New York, a crucial step for any artistic movement.

2. June 13, 1984, New York, Lower East Side: Opening of The Shuttle Theatre.

• Relevance: Establishes another significant early venue for Plexus activities, a key location for early Nuyorican Poets Cafe readings, as mentioned by Miguel Algarín.

3. August 25, 1984, New York, East 6 Street: "In Order to Survive," a block association street event.

• Relevance: This event was specifically referenced by Miguel Algarín as a foundational moment, involving William Parker's jazz statement and unifying artists and the community.

4. June 13, 1985, New York, CUANDO: "Goya Time, 1985, New York," an art opera.

• Relevance: A seminal "art opera," highlighting the large-scale, collaborative, multi-art form approach of Plexus, co-developed by Sandro Dernini and Butch Morris (a key artist).

5. July 17, 1985, New York, CUANDO: "In the Night of No Moon: Purgatorio Show ‘85," an open call for the future international community house, with over 350 artists.

• Relevance: Demonstrates the massive collaborative scale and early ambition for an "international community house," reflecting Plexus's vision of broad participation. Leonard Horowitz also started his collaboration around this show.

Thematic Manifestos & International Expansion (1987-1989)

1. February 18, 1987, New York, Patrizia Anichini Gallery: "Do You Think it is Possible to Eat Andy Warhol by Eating an Campbell Soup Can?", a phenomenological inquiry performance by Sandro Dernini.

• Relevance: A distinct performance by the founder, showcasing the intellectual and conceptual depth of Plexus's inquiries into art and its consumption.

2. July 1-4, 1987, Gavoi, Sardinia: "Il Serpente di Pietra," first international art slaves market show, with 160 artists.

• Relevance: Marks a significant early international expansion to Sardinia and introduces the thematic concept of "art slaves market," a precursor to the "Art Slavery Manifesto."

3. May 21, 1988, New York, Rivington School: "Open Call for Plexus International Art Slavery Manifesto Group Shot."

• Relevance: A central event for the "Art Slavery Manifesto," articulating a core critical stance of Plexus through a collective visual act.

4. August 26, 1988, Dakar, Goree, House of the Slaves: "Open Call for Plexus International Art Slavery Manifesto Group Shot."

• Relevance: Highly significant for its symbolic location (House of Slaves on Gorée Island), extending Plexus's international reach and reinforcing the manifesto's powerful social commentary.

5. May 25, 1989, New York, Institute of Computer Arts, School of Visual Arts: "1992: The Departure of An Art Human Shuttle For Freedom..." an international interactive event by George Chaikin and Sandro Dernini.

• Relevance: Highlights the explicit art-and-science collaboration with George Chaikin (a key scientist) and introduces the "shuttle" metaphor for exploration and freedom.

6. June 25, 1989, Cagliari, Department of Physics, University of Cagliari: "Arrival of the Art Shuttle," ritual performance.

• Relevance: Further emphasizes the art-science dialogue in an academic setting in Sardinia, involving key figures like Franco Meloni (Physics professor), Willem Brugman, Stephen DiLauro, and David Boyle.

"Plexus Black Box," "Well-Being," and "Art & Science" Integration (1990s)

1. June 30–July 1, 1990, Rome, Ridotto del Colosseo: "1992 Cristoforo Colombo: Viaggio nel Pianeta Arte, part three: Plexus Black Box."

• Relevance: Formalizes and highlights the "Plexus Black Box" concept, which is central to documenting and understanding Plexus's activities.

2. October 9-11, 1992, Carloforte, Sardinia: "Columbus Reconciliation Forum on 'The Well Being in the XXI Century'."

• Relevance: Marks the emergence of the "Reconciliation" and "Well Being" themes as central to Plexus's artistic and social mission.

3. October 11, 1993, New York, The Cooper Union: "Plexus Black Box: Art & Science," an art and science presentation by Guido Pegna, George Chaikin, Franco Meloni, Sandro Dernini.

• Relevance: Explicitly links the "Plexus Black Box" with "Art & Science," featuring multiple key scientists and the founder, showcasing the interdisciplinary core.

4. October 12, 1993, New York, Saint John The Divine Cathedral: "Columbus Day: Marconi Columbus Open Call for Reconciliation, Art, and Well Being."

• Relevance: A major public event in a prominent location, consolidating the core themes of reconciliation, art, and well-being.

5. November 13-20, 1996, Rome, Roof Garden of Palazzo delle Esposizioni: "From Welfare to Well Being: Eating Art, Get the Best From Your Food, Food for All," on the occasion of the FAO World Food Summit.

• Relevance: A highly significant international event, tying Plexus's "Well Being" theme directly to global issues of food and sustainability, and notably where Miguel Algarín performed "BodyBee Calling."

Sustained Themes & Global Activism (2000s-2020s)

1. July 15, 2001, Rome, Metateatro: "In Order to Survive: An Other World is Possible," an art event.

• Relevance: Reiteration of the "In Order to Survive" theme, demonstrating its enduring relevance and adaptability to contemporary global challenges ("An Other World is Possible").

2. November 29-December 5, 2004, Ballarat, Australia: "Erosions and Renaissance Show Act 2."

• Relevance: Significant expansion of Plexus's activities to a new continent (Australia) and introduction of the "Erosions and Renaissance" thematic arc.

3. December 10, 2008, Human Rights Day, Rome: "The Ark of the Well Being, within the event Food for All."

• Relevance: Demonstrates the long-term commitment to the "Ark of the Well Being" and "Food for All" themes, aligning with Human Rights Day.

4. 27 September 2019, Rome, Circo Massimo: "ACTION NOW: SOS TERRA!! STOP INDIFFERENCE!! IN ORDER TO SURVIVE BRING YOUR SELF – BRING YOUR PLANET."

• Relevance: A powerful, large-scale, and urgent contemporary call to action, utilizing core Plexus themes ("In Order to Survive") to address global environmental crises.

5. 22 April 2022, Earth Village, Villa Borghese, Rome: "PLEXUS FLAG METR'ART FOR PEACE TO STOP WAR AND SAVE THE PLANET," a monumental historical wall artwork.

• Relevance: A monumental and highly topical artistic statement for peace and environmental protection, showcasing Plexus's continued engagement with pressing global issues through large-scale art.

6. 10 December 2023, Assisi, Basilica S. Francesco: "PLEXUS METR'ART BANDIERA DELLA PACE RECONCILIATION STOP THE WAR."

• Relevance: A very recent and highly symbolic event, bringing together central Plexus themes of peace, reconciliation, and anti-war sentiment in a globally recognized spiritual and peace-oriented location.

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This selection aims to cover the most pivotal moments in Plexus's evolution, from its early formation and thematic development to its internationalization and ongoing commitment to addressing social, environmental, and artistic concerns through collaborative and interdisciplinary means.

 

Short narrative history of Plexus for a presentation

 

Plexus is an innovative and dynamic art movement that emerged in the early 1980s, founded by Sandro Dernini and a collective of artists and thinkers in New York City. Born out of a desire for creative collaboration and community engagement, Plexus quickly transformed into a global platform that united artists from diverse backgrounds and disciplines.

The movement began with the opening of the Plexus performance space in Chelsea, New York, in 1983, which hosted groundbreaking art initiatives. One of its pivotal moments was the launch of The Shuttle Theatre in the Lower East Side in 1984, where events like "In Order to Survive" celebrated artistic resilience and community connection.

Throughout the years, Plexus evolved into an international phenomenon, expanding into locations like Sardinia, Dakar, and Rome. It embraced the fusion of art and science, exemplified in events such as the "Plexus Black Box" presentations that highlighted the intersection of creativity and scientific inquiry.

Key contributors, including renowned artists like Miguel Algarín, Butch Morris, and George Chaikin, played vital roles in shaping its vision.

Plexus gained acclaim for its thematic focus on social issues, including the "Art Slavery Manifesto," which challenged the commodification of art and emphasized the role of artists as community leaders. Events often featured large-scale collaborative performances, art operas, and multimedia installations, allowing diverse voices to unite for collective expression.

Today, Plexus continues to foster creative dialogues and promote well-being through ongoing projects and international festivals. It remains committed to exploring themes of social justice, environmental awareness, and cultural reconciliation, making an enduring impact on the global art community. The legacy of Plexus serves as a testament to the power of collaboration and the arts in addressing contemporary challenges, inspiring new generations of artists and activists.