Fabrizio Cotognini, Kronos e Kairos, i tempi dell'arte contemporanea, installation view, 2019
Fabrizio Cotognini, Reversed Theatre, installation view at Fondazione Sandretto Re Rebaudengo, 2018
Fabrizio Cotognini, Reversed Theatre, installation view at Fondazione Sandretto Re Rebaudengo, 2018
Fabrizio Cotognini, Reversed Theatre, installation view at Fondazione Sandretto Re Rebaudengo, 2018
Fabrizio Cotognini, A true story full of lies, 2018
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book, installation view at Manifesta
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book, installation view at Manifesta
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book, installation view at Manifesta
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book. Detail
Fabrizio Cotognini, No Monster's Land, 2018, 250 X 80 cm, Biacca and gold on black french paper and artist book. Detail
Fabrizio Cotognini, parallelo 42, giardini 2
Fabrizio Cotognini, parallelo 42, giardini 4
Fabrizio Cotognini, parellelo 42, giardini
Fabrizio Cotognini, Wings of desire, 2017. Red pencil, biacca, gold, ink, pencil and Mylar on original 1700 etching and black paper, 65 cm x 78 cm
Fabrizio Cotognini, And why do you worry about clothes? 2017, red pencil on mylar, 50x70cm
Fabrizio Cotognini, Europa, 2017, biacca, blue pencil, red pencil, copper and Mylar on original 1700 Etching, 58 cm x 48 cm
Fabrizio Cotognini, Otto studi sui teschi, 2014
Fabrizio Cotognini, Otto studi sui teschi, 2014
Previous Next

Fabrizio Cotognini

Born in 1983 in Macerata (Italy). He lives and works in Macerata (Italy).

In his works, which moves along the archaeological and historical horizons of art, Fabrizio Cotognini constantly refers to antiquity revisited through a contemporary approach, and privileges drawing as key element of an artistic research that also employs the new media. For him, time, memory, and history are majestic entities that he overturns, twists, and bends in scenic apparatuses that enhance their instability.In so doing, Cotognini joins word and image in a conversation involving sign, drawing, and writing, a conversation which becomes a place for contemplation and, at the same time, of reflexive concentration.It may also seem, and just seem, one of those glosses reminiscing the pleasure of reading ancient books,or even a late-Gothic illumination or a precious decoration revealing its exquisite details.

“My artistic research is based on a contamination process conceived as a matter of interactions, trepassings and fusions between images and word-sign. Through this I want to create new icons using cautiously a “verbal painting” idea: with words, colors, architectures, pictures and maps I’m trying to force the image into imagination. Thanks to this contamination forms are then changing and developing in an construction process. The verbal element with is physical presence doesn’t exist anymore in the sense we know: no more descriptive, in my works it becomes structure architecture. The aim of my work stays then in the link between writing and anti-writing.” F.C

www.fabriziocotognini.com