FÁBIO COLAÇO

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It Is Time, 2020, neon, 300 x 1300 cm

“It is Time” (2020) is a permanent public installation designed in the form of a neon.
Depending on the context and time of day it is read, the statement “it is time” gains new readings and meanings: a landscape caption, a commentary on the current situation, a changing reality, a dogma.
The fact that it is apparently unfinished, the lack of punctuation and the publicity character are elements that make the statement open to the interpretation of its ideological restlessness.

Plastic Bag Balloon (blue), 2020, plastic bag, helium, black fiber strip, variable dimensions

Work, Buy, Consume, Die, 2019, CMYK silkscreen print on 300gr cotton paper, 100 x 70 cm

Untitled, 2020, arrows, rock, 76 x 60 x 30 cm

Untitled (heavy), 2020, shoes, rock, 20 x 25 x 40 cm

"Untitled (heavy)" (2020) is a sculpture built from a ready-made logic, first presented at "Art in Quarantine", a project by Umbigo magazine. They invited several artists to reflect on the era we are living in and to think about their artistic production in quarantine times.
This work can be read as a metaphor for the current situation, trapped by a social, political and economical stone, a sisyphus of the times in which we live.

Money Blinds You, 2020, €500 banknote, elastic fiber strip, 8 x 16 x 20 cm

Untitled (mousetrap), 2020, mouse catching glue on banknotes, variable dimensions

Money, 2019, oil on canvas, 100 x 100 cm

Untitled (cut), 2020, plastic, glass, metal, inkjet print on paper, 27,5 x 13,5 x 4 cm

Concetto Spaziale (after Fontana), 2020, banknote, 12,7 x 6,7 cm (banknote) / 30 x 21 cm (frame)

Balaclava (McDonald’s), 2019, McDonald’s paper bag, 30 x 21 x 12 cm

“Balaclava Shopping Bags” (2019-) is an on going series of works which start from shopping bags - objects intrinsically linked to advertising, commerce, circulation and consumption - over which two cuted holes correspond to the eyes and mouth of an unknown character, directly associated to a thief. The value of the brands of each bag, positioned in different social status are questioned according to the capital they represent.

Truth, Lie, Fiction, Whatever, 2020, CMYK silkscreen print on 300gr cotton paper, 100 x 70 cm

CMYK is an on going series of silkscreen prints based on the CMYK color model (cyan, magenta, yellow, black).

The game of colors visually links the groups of words in a current reading - left to right, top to bottom - leaving open the interpretation of what each set can mean in different points of view. The words are written with Helvetica font, widely used in advertising and the silkscreen printing process used as well, shares their commercial and captivating nature in a different sense. The words that make up the series are mostly part of the current popular glossary and gain new readings and meanings through the passing of time.

Untitled (euro banknote colours), 2019, neon, 100 x 200 cm

Balaclava (Gucci), 2020, Gucci paper bag, 34 x 17 x 11 cm

Balaclava (KFC), 2019, KFC paper bag, 30 x 21 x 12 cm

Welcome (€50), 2019, UV print on carpet, 100 x 55 cm

Tower of Babel, 2019, coins, 9 x 2,8 x 2,8 cm

In this version of the Babel Tower’s myth, the architecture of a tower supposed to reach the sky are made up of coins from different parts of the world.
While some speak of the “tyranny of money,” money is a language everyone understands and something most people want.

Welcome (€100), 2019, UV print on carpet, 110 x 60 cm

“Welcome” (2019) is a series of works debating the real and symbolic value of money. Euro banknotes are printed on entrance carpets which directly appeal to public participation, who can wipe their feet and erase the value deposited on a symbol of the European economy.

Fortune, 2019, adhesive vinyl on plexiglas, 168 x 118 cm

God Shoes #3, 2019, UV print on shoes sole, variable dimensions

Untitled (crumpled), 2019, banknotes, variable dimensions

Time is Money, Money is Power, Power Corrupts Eventually from the serie Meme Paintings, 2019, oil on canvas, 100 x 100 cm

The ongoing Meme Painting series take as a starting point a set of humorous and viral images widely disseminated, shared and consumed on the internet, from which the image is removed. The Renaissance Albertian notion of painting as an open window is associated, through the traditional medium of oil painting, with the digital window and meme culture of the time in which we live.

Welcome (€500), 2019, UV print on carpet, 130 x 70 cm

Lost Fund #1, 2019, resin, fiberglass, oil paint, coins, banknote, variable dimensions

This work is the first of a serie of fake rocks made of fiberglass and painted like their appear real. Each one has a piggy bank slot through which the people can contribute to a social fund that gives weight to the rocks.

Paramount (White House), 2019, inkjet print on fine art paper, 100 x 75 cm

Forbes, 2019, adhesive vinyl on plexiglas, 168 x 118 cm

A God Called Money, 2019, aluminum, plexiglas, led, electric transformer, 10 x 220 x 8 cm

‘A god called money’ is one of the controversial sentences by Pope Francis in his public speeches over the last few years in a way of an attack to the global economic system.
Pope’s sentence is placed in the form of an illuminated advertising sign, which has the same type as the logo of the European Central Bank.

Untitled (incomplete), 2017, found object, 3,2 x 3 cm (fragment), 60 x 40 cm (frame)

Eclipse, 2018, single chanel HD video, color, silent, 1’30’’, variable dimensions

“Eclipse” (2018) is a video documenting an attempt to approximate the brightness of a coin to the intensity of the sun. The duration of the video is determined by the sudden passing of the sun.

A copper-plated golden cent put into circulation, 2017, inkjet print on fine art pape, 30 x 20 cm (photo) / 30,3 x 20,3 cm (frame)

As the title describes, this photo documents an action wich consisted of put in circulation a copper plated golden cent.
Except in its composition, this coin appears to have the same characteristics as the coin of a regular one cent piece.

Golden Cent, 2017, gold cast, ø 16,25 mm

Money Gets Money, 2017, acrylic on banknote, 12 x 6,2 (banknote), 30 x 40 cm (frame)

The work consists of a hybrid between a €5 banknote from the Europe series and the banknote number five from the Monopoly board game.
From an absurd logic, the work associates the fictitious value created in the context of a board game where ‘money gets money’ with the value of a real banknote that is currently in circulation.

Glup! Glup!, 2017, world globe, toilet plunger, 60 x 50 x 50 cm

Untitled (square), 2017, coin, 23,25 x 23,25 x 2 mm

Loop, 2017, HD video, color, sound, 4’10’’, variable dimensions

“Loop” (2017) is a video work that documents the meticulous cut of two coins of one euro. The faces of the coins are joined, welded and finished, but with the particularity of both staying with equal sides.

Upside Down Depression, 2018, bronze, 6,5 x 20 x 20 cm

In the center of Galleria Vittorio Emanuele II in Milan there is a tradition that brings good luck. This popular belief says that if a person spins around three times backwards with a heel on the genitals of the bull represented in the floor, this will bring her or him good luck.
This solid bronze object is obtained from the negative space of the floor depression resulting from this practice by the people along the time.

Dirty Money, 2017, HD video, color, sound, 2’00’’, variable dimensions

This video work documents the literal washing of a €5 banknote. The banknote is washed until it loses all the color and security inscriptions.

Dirty Money (washed banknote), 2017, washed banknote, 12 x 6,2 cm (banknote), 36 x 30 cm (frame)

Trevum (Guia Astral), 2016-2017, Guia Astral magazine from January 2017, 35 x 26 cm (magazine), 40 x 31 cm (frame)

‘Trevum’ is a fake natural multivitaminic with no apparent form, created by the artist, used to control the bad luck and life disconforts. For a month, this product was advertised through different media. Part of this campaign was made through an advertisement legally published in Guia Astral, a well-known Portuguese magazine of astrology.

Trevum (flyer), 2016-2017, off-set print, 15 x 10 cm (flyer), 22 x 17 cm (frame)

Ecce Mono (reproduction as Gioconda), 2017-2018, oil on poplar panel, 77 x 53 cm

Since 2012, Ecce Homo becoming one of the most viral memes ever and an image of merchandising popularized and capitalized. The restoration is now known as ‘Ecce Mono’ ("Here's the Monkey"), a popular adaptation of the original title, which marks as one of the most visited tourist attractions in the world.
In response the status quo of this restoration, the serie of works parts of a live action taken in the sanctuary: a copyist invited by the artist, reproduced the famous restoration.

Ostrich, 2016-2017, HD video, color, sound, 3’10’’, variable dimensions
“Ostrich” (2016-2017) is a film that documents an action performed by the artist. The main action of the film is the burial of its own head in the ground, in reference to the fake popular belief that the ostrich buries its head in the ground in the presence of great danger.

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FÁBIO COLAÇO

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