Yes, we don't
Throughout the years 2000 Francesco Finizio develops devices that pursue his exploration of questions relating to exchange, circulation and experience, as well as exposing the difficulty of transmission.
Through a constant use of viusal resonances and the association of ideas, he undertakes various experiments combining play and reverie which often border on the absurd.
Finizio’s works are devices for listening and transmission which render action uncertain, stop time and totally escape the logic of productivity, performance and exactitude. Transmission thus always occurs in the gaps,
through loss and approximation (Centre de Tri Visuel/Read and Weed Center, 2000-2003). Finizio questions our possibility to experience in an overly controlled, commercialized and pre-fabricated world.
This subtly critical and off-kilter vision of society and its stereotypes can also call upon the service of animals: Canary Island (2004) is a pirate radio station whose musical programming is entrusted entirely to the whims of a canary in a cage.
Francesco Finizio likes to transform and turn places topsy-turvy, to underline the notion of process and to blur boundaries, between the world of art and that of business to cite one example:
In How I Went In & Out of Business for Seven Days and Seven Nights, 2008, the ACDC galerie in Bordeaux was transformed into a construction site commercializing various materials over a one-week period.
This interest for inhabited sites become noman’s lands is something Finizio pursues further in Jackson Hole (2008) which parodies and parasites Michal Jackson’s theme park/residence.
Excerpt from the visitor’s guide, edited by the Institut d’Art Contemporain de Villeurbanne/Rhône-Alpes, for the exhibition Yes, we don’t 05-20-2011 / 08-14-2011.