Finizio's work is dictated by the overwhelming material saturation surrounding us. With simple yet sophisticated tools, he utilizes the resources available to him. By employing concrete and everyday means, Finizio's ongoing research into the languages and gestures of consumerism and mass communications, produce new and poignant articulations of our economic, cultural, social, political and artistic condition.
Through the use of DIY aesthetics and an often off-the-cuff approach full of humor and self-irony, Finizio has been developing a unique and idiosyncratic body of work rooted in the observation of incidents and phenomena that revolve around questions of exchange and value, agency and cultural meaning. His installations operate as both events and models. They entangle the depiction of scripted spaces of commerce, habitat, display, construction, archive and work, with a model-like quality that actively speculates on the uses, statuses, and sentiments that these spaces perform.
Since nothing is certain under the rule of capital, we are all busy speculating - both the investment banker and the precariat, are constantly compelled to create models by which they can conduct themselves. The only invariant element in these models is the perpetuation of the market economy. Under capital, speculation has changed from independent and inverted thinking, to a way which ensures that the economic and political world remains intact.
With their playful makeshift style, Finizio's clever installations push a given situation to its breaking point, revealing contradictory states and hidden dimensions of the economic world we live in. By proposing the familiar world as it is folded inside-out, Finizio's work suggests a mode of operation that we can call counter-speculation.
Joshua Simon, excerpt from the press release for the ARKPARKCRAFTRAFTCLINICCLUBPUB exhibition at MOBY, Bat Yam, 2015
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.
+ more info (in french) on http://i-ac.eu/fr/expositions/24_in-situ/2011/3_YES-WE-DON-T