Faster Than Christ | Franco Ariaudo
curated by Sergey Kantsendal


The project Faster than Christ by Franco Ariaudo is inserted in the wider investigation that he artist has conducted on some scenarios of the possible and on the influence that they can have on our perception of the reality or on that we assume to be possible. Through a series of sketches and actions developed since the 2017 during a residence in the island of Biruchiy, dipped in the suggestive landscape of the Azov sea, the project has initially taken the form of a book, Basilisk or How to run on water, that has explored under multidisciplinary points of view the practice of the run on water and its motivational potentialities in front of the challenges that the human being must face.

The project from COLLI independent art gallery is an extension of this research in the format of show that, in its plastic-sculptural evolution, acquires further senses and meanings. Beginning from a (re) teo-philosophical reading that the act of walk on water occupies in the western symbology and imagination, the project gets away from biblical topic toward other domains, closer to more actual anthropological and socio-cultural worries. Which are the necessary ideal conditions for facing the challenge of the run on water? Which are the physical and spiritual strengths that must be implemented, and which are the prerequisites that would allow a person to run on water? And above all, how can we change our point of view on the reality and start to imagine something impossible as possible?

The space of the gallery becomes a training centre that stage a series of tecno-gymnastic prototypes, that act as potential tools to reach this apparently impossible objective. From the installation PETER Mt14:31, a tapis roulant that desecrate the run on water, depriving it of its extraordinary nature, to the footwears that melt the theological lexicon with the mass production promotional one. The sublime fuses with today’s sport aesthetic, in a playful and ironic gesture of appropriation and hybridization. Like, for example, the poster with the representation of Jesus and the evocative writing Why did you doubt?.  Starting from a para-scientific register, the project Faster than Christ lays the foundations for the theory and the practice of the run on water, in which the notion of the magic and of the miraculous cohabits with a competitive and pragmatic vision, reflecting some contradictions of the contemporary society. Result of multiples suggestions and visions drawn by the natural world and by the science, the show proposes a radical perspective change on the topic, moving the point of view from the utopic to the dystopic that pull us toward a redefinition of the same notion of impossible and of its perceptive limits, in front of the numerous technological and social transformations that we are going through.

The show is accompanied by the artist book Basilisk, edited by COLLI gallery, Viaindustriae publishing with the graphic project of Friends Make Books. The typeface shown by the works in the exhibition is “Sporty”, by Alessio Di Ellena.

The exhibition is accompanied by the artist book “Basilisco”, edited by Colli independent art gallery, Viaindustriae publishing, with the graphic project by Friends make books. More info:,-(exhibition-view,-ground-floor)2.-Water-Shoes,-2019,-mixed-media,-sculptures-in-edition-of-2-each.-(dx-sx)3.-Water-Shoes-(exhibition-view),-2019,-mixed-media4.-Faster-than-Christ-(wall-graphics),-Typeface-for-the-project-(Sporty-by-Alessio-D'Ellena)5.-PETER-Mt-14_31,-Water-Shoes-(exhibition-view,-ground-floor)7.-PETER-Mt-14_31,-(exhibition-view,-ground-floor),-2019,-steel,-aluminuim,-wood,-water,-pump8.-Faster-than-Christ-(exhibition-view,-underground-floor)-89.-Table_display-various-object-related-to-Faster-than-Christ-project20190302_153903Franco-Ariaudo_from-Faster-than-Christ-project-(training-session-#3)_2017_ph-Andrey-Lobov

With the Eyes of the Earth
Markus Karstiess


Markus Karstiess, Claudio Abate, Roberth Smithson, With the Eyes of the Earth, Colli publishing platform, 500 copies, 38.5 x 28, 2018, produced for the exhibition With the Eyes of the Earth, 2018, Roma.

49 years ago Robert Smithson made his first earthwork Asphalt Rundown in October 1969 in an abandoned quarry near Rome with Galleria L’Attico. This publication brings together rare and previously unpublished material from the Archivio Claudio Abate  and Fabio Sargentini (Galleria L’Attico) documenting the iconic flow and the exhibition Smithson realized inside Galleria L’Attico, as well as sculptures and video works from Markus Karstiess who made a dig for the remains of the asphalt in 2014.

In the exhibition With the Eyes of the Earth, conceived by Markus Karstiess, the artist practices what in some places might be called artistic research. That is to say, rather, Markus Karstiess is following through in a personal quest in this exhibition, into what remains of Robert Smithson’s Asphalt Rundown (1969), located in Rome. Karstiess finds himself in the combined role of artist-curator. This already provides a glimpse into the complex nature of his artistic oeuvre, a lens to the exhibition itself, which in turn consists of diverse visible and invisible individual components.


Slot – Tricia Treacy


Artist book, risograph print, not bounded, edition of 70 copies signed, 31.8 x 43.2 cm (closed), 2018. GO TO SHOP

a book that blurs, conceals + reveals

An experimental artist book that taps into the perspectives, dialogs, and insights gathered by Treacy from various members of the creative community of the American Academy in Rome. The 2017–18 Rome Prize fellows as well as Rome-based artists and authors were asked to pause and reflect upon the theme of privacy or matters unspoken. Their contributions have been juxtaposed and interwoven to create random connections and an unconventional visual narrative. The process of Risograph printing with master printer, Jo Frenken (Charles Nypels Lab in Maastricht, Netherlands) initiated a meshing technique to communicate this web of private narratives. In place of reiteration, the project uses gaps and overlaps between the different perspectives as a structural principal.

Contributors include: Chiara Barzini, Sanford Biggers, Alessandro Cicoria, Brandon Clifford, Abigail DeVille, Alessandro Di Pietro, Allen Frame, Ashley Fure, Aroussiak Gabrielian, Valeria Giampietro, Sean Gullette, T. Geronimo Johnson, Joanna Klink, Antonella Lattanzi, Johanna Lobdell, Kevin Moch, Matteo Nucci, Elizabeth Cowan White, and Arnisa Zeqo.


Experimental Jetset – Concrete Provo
Concrete Provo


Experimental Jetset, 2015, series of 5 poster, 59 x 42 cm, digital ultra-chrome pigment ink print on blue-back paper, limited edition of 5 copies, numbered and signed, produced for the exhibition Yes Yes Yes Alternative press, Rome 2015. BUY NOW

Experimental Jetset is a small, Amsterdam-based graphic design studio, founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, EJ have worked for a wide variety of institutes. Their work has been featured in group exhibitions such as ‘Graphic Design: Now in Production’ (Walker Art Center, 2011) and ‘Ecstatic Alphabets’ (MoMA, 2012). Solo exhibitions include ‘Kelly 1:1’ (Casco, 2002) and ‘Two or Three Things I Know About Provo’ (W139, 2011). In 2007, a large selection of EJ’s work was acquired by the MoMA. Members of EJ have been teaching at the Rietveld Academie and Werkplaats Typografie.

Packaging Concrete Provo


Installation view Concrete Provo


Dexter Sinister


Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt. Dexter Sinister works as a publishing imprint and an exhibiting artist. Dexter Sinister is also the name of their basement space on New York’s Lower East Side, which operates as a “just-in-time workshop and occasional bookstore.” The workshop is intended to model a “just-in-time” economy of print production, ine realities of large-scale publishing. Dexter Sinister have increasingly been involved in broader gallery and museum projects, most recently at the Centre d’Art Contemporain, Geneva; Whitney Biennial, Venice Biennial New York; The Kitchen, New York; and Somerset House, London. In 2006, Dexter Sinister established a workshop in the basement at 38 Ludlow Street, on the Lower East Side in New York City. The workshop intended to model a ‘Just-In-Time’ economy of print production, running counter to the contemporary assembly-line realities of large-scale publishing. This involved avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. In 2011, together with Angie Keefer they set up “The Serving Library”, a not-for-profit cooperatively-built archive that assembles itself by publishing. The project’s engine is Dot Dot Dot’s successor Bulletins of The Serving Library – a journal that circulates as freely downloadable PDFs as well as a biannual print edition. Reinfurt and Bailey decided to make the catalogue the third issue of their journal Bulletins of the Serving Library, which continues the legacy of Dot Dot Dot, their “previous house journal which ran for ten years and twenty issues.” The catalogue/issue acts not as a compendium but a companion piece with thirteen essays, articles and visual works. It begins with “MMMMMMMMMMMM…,” by Andrew Blum, which appeared in The New York Times in 2003 under the title “The Modern’s Other Renovation.” It’s about MoMA’s history of logo redesign, beginning with the controversial 1966 decision to lower the upper case “O” and continuing to Yoshio Taniguchi’s subtle 2004 redesign. (Did you know that the little “o” was initially so unpopular that it wasn’t officially used for twenty years?)


2017”…meet the Tetracono.”* COLLI independent art gallery – Roma
2015, Yes Yes Yes Alternative Press, 66’- 77’ from provo to punk – COLLI independent art gallery – Roma
2015, On a Unive
rsal Serial Bus – Kunstverein München – Kunstverein München – Monaco
2015, The * of Love – Galerie Martin Janda – Vienna
2014, STAGING of Dexter Sinister’s “The Last ShOt Clock” – CAC – Contemporary Art Centre – Vilnius – Lituania
2013, 55 Esposizione Internazionale d’Arte – Padiglione Lituano (Venezia)
2012, Spring Exhibition and Research Programme: Dexter Bang Sinister – Kunsthal Charlottenborg (Denmark)
2010, Frieze Project with Shannon Ebner
2010, Une exposition (du) sensible – Commissaire invité Mathieu Copeland – Centre d’art contemporain – la synagogue de Delme
2011, Dexter Sinister – ARTISTS SPACE EXHIBITIONS – NY
2010, OOGA BOOGA – Contribution for the bookshop display – Swiss Institute NY
2009, Walker Cinema
2009, Dexter Sinister (carte blanche) – CAM – Contemporary Art Museum St. Louis
2008, Whitney Biennial 2008


2017, Conférences IKEA Audtorium, ECAL
2016, TALK SHOW – ICA Londra
2016, NEON – Dexter Sinister
2016, PANEL – Swiss Institute NY
2010, The serving gallery – IASPIS STOCKHOLM – The Swedish Arts Grants Committee – Stoccolma
2009, Walker Art Center and AIGA Minnesota Present Insights 2009 Design Lecture Series – Walker Art Center
2008, Forms of Inquiry- IASPIS STOCKHOLM – The Swedish Arts Grants Committee – Stoccolma


Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA + YELLOW, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA + YELLOW, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYMK, ed of 50 copies numbered and signed, 100 x 70 cm.

Dexter sinister, Stampa programmata, 2017, CYMK, ed of 50 copies numbered and signed, 100 x 70 cm.

Last Shot Clock, Edition of 16 custom-programmed microchip on 7 digit display, set with gloss black steel box.

Last Shot Clock, 2018, Edition of 16 custom-programmed microchip on 7 digit display, set with gloss black steel box, 23 x 10 x 10 cm

Watch Scan 1200 Dpi, 2015, edition of 50 copies, 100 x 70 cm.

Watch Scan 1200 Dpi, 2015, edition of 50 copies, 100 x 70 cm.