Irreverent and ironic, these are the two adjectives that best describe his art, and a pioneer of digital art in our country
Max Papeschi arrived in the world of contemporary art at the end of 2008, after an experience as an author and director in the theater, television and film fields. The media hype raised by one of his giant works affixed to the façade of a building in the center of Poznan in Poland propelled him onto the international scene, making him one of the best-known Italian artists abroad in a very short time.
In just 10 years of activity he has created more than 60 solo exhibitions and participated in a hundred group exhibitions around the world.
Irreverent and ironic, these are the two adjectives that best describe his art, and a pioneer of digital art in our country. His creativity gives rise to works in which iconic figures of good, such as Minnie and Mickey Mouse, are contrasted with symbols of totalitarian regimes and their dictators.
In April 2016 he inaugurated in Milan the cultural-humanitarian project “Welcome to North Korea”, a real artistic precedent created in collaboration with Amnesty International, which combines digital art, performances and installations in a multimedia operation that, through a fictitious and parodic regime propaganda, reveals the horrors perpetuated by the dictator Kim Jong Un. A complex work of public art that speaks to people through the most diverse languages: from mobile installations and performances in the square, to videos, sculpture, photography and painting, up to the board games of yesteryear in a brand new edition with a dystopian flavor, which remind us of our golden Western childhood of the 80s and dispense subliminal nightmares of an atrociously real elsewhere.
A world tour that marked the rise of Papeschi making him known all over the world. Since then, numerous projects have followed: from the exhibition “The Best is Yet to Come” at Palazzo Steri who inaugurated Palermo Italian Capital of Culture at the release of his new book Max vs Max, published by Giunti, in collaboration with Massimiliano Parente and with an introductory text by the critic Gianluca Marziani which was followed by the exhibition of the same name, at the Contemporary Cluster (Palazzo Cavallerini Lazzaroni) in Rome, curated by Marziani himself; to the exhibition Pyongyang Rhapsody, in collaboration with the artist Max Ferrigno, at the ZAC – Cantieri Culturali alla Zisa in Palermo up to the present day with the exhibition “Hic Sunt Leones” at the WEGIL in Rome, in collaboration with the Maimeri Foundation and the Lazio Region, curated by Gianluca Marziani, where Papeschi has created a site-specific installation for the occasion.
INFO/PHOTO COURTESY: Max Papeschi
Chiara Mattavelli
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