«Die Fratze des Todes» (The Visage of Death) (NZZ) – a poster by Andreas Fierz.
«Die Fratze des Todes» (The Visage of Death) (NZZ) – a poster by Andreas Fierz.
Trifilò’s limited NFT collection, presented on OpenSea, are unique digital collectibles generated from human attributes and traits, such as gestures, facial expressions and hairstyle, as well as a selection of mental health conditions. The work stored on the blockchain is also stored in parallel on an analogue negative film and exposed on a glass plate with a sensitive emulsion. The image is transferred by hand into the physical medium that takes it out of the virtual world to be held in real time. The process of reproduction is similar to a traditional analog photographic process; It uses a system which requires light-sensitive Emulsion and a Photo Enlarger. The artist creates this physical object based on a digital file; A hybridization between the virtual and the physical through a series of tools and procedures. This work aims at exploring the relationship between human mind and body, one which has become increasingly blurred with the arrival of new technology.  Trifilò also explores the significance of the material itself: its ability to store information, its resistance to degradation, its historical importance, or the way in which it is perceived by our senses.
In his attempt to unravel, and thus classify human emotional worlds, Trifilò employs arbitrary algorithms. In a sense, his work addresses the despair about the non-linear development of humankind, science, industrialisation and the economy. He observes and describes the amazing adaptability of the soft human mass, but also the consequences and side effects of this changeability. Trifilò is interested in the process whereby our emotions and mental states evolve, or perhaps devolve over time: "The world around me keeps changing, I am constantly losing my bearings." The artist's work is been described as 'an ambiguous portrait of humanity'.
Performance-enhancing substances, administered in small doses, have helped the world’s population keep pace with time, with progress and with expectations since time immemorial. And like people, entire industries flourish in the process.
Gianluca Trifilò’s work explores manifold absurdities and contradictions, such as the silent social acceptance of paradoxical processes, the interaction of dependence and independence, of social inclusion and stigmatisation, of hypomania and depression, of consciousness and subconsciousness and the corresponding possibilities of manipulation, the sedation of functionality and emotionality, even if nature tends to envisage humankind as “being alive.”
Trifilò’s “PHARMANAUT” also invites viewers to ponder other questions, including the balance between social submission and rebellion against manipulation, between sensible renunciation and blind consumerism, between handling one’s own resources and those of others, between chaos and order, between external and self-determination – beyond time and space, beyond the ability to think and act.
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