FANTASTIC METROPOLITAN CREATURES
Papers, markers, painting, metal, ropes, glue and most of all abundance of lauded folly.
These are some of the ingredients of the recipes to obtain exquisites “Fantastic
Our exceptional chefs:
Bankeri (aka Francesco Bancheri), Michele Guidarini & Pasquale De
Sensi, Timwnas, Line Guillod, Frederich-James Pordoy.
Animated mutation, the paper allows itself to get pummel, overlay and dissect. Clipping of
procedural offal, it ends armless, forewarning the battle of boards and canvases,
performing talking spider defying the gods to whom surrender.
A child armed with a sling
to tear down the giant between the skyscrapers.
Insubordinate soldier fighting the vacuous
war of unrealistic ideas, the dislocated paper tumbles-down, derelict, common, leftover,
it's teared apart from the comfort of the magazine, dismembered from its purpose, to
claim its nature of ideological cocoon, pandemic drift, putrescent meditation, guardian
demon of the sweet-dream's dark room, silent preachers of lysergic anathemas of the
“Fantastic Metropolitan Creatures” are made out of stardust born from a synaptic big-bang,
indomitable rebels against the pretentious image composed under the fear of fashionable
dictates, controlled by the irreversible linearity of the willful thinking and its consequent
The promiscuity of ideas is redeeming. In this case it becomes act of junction, without
bothering the peaceful chaos of things, blending with violence and elegant vocative
presences, disclosing compositions full of meanings. Promiscuousness multiplies and
reveals a renewed identity, taking place inside the chaos avoiding to drift thanks to an
arbitrary and genuine act.
Operating appendix of creative narrations and peculiar personality, the monster of
visibility imposes himself free of counter-cultural misunderstandings, as alchemical result
of infernal mixtures, a dadaist halloween, escaped from the repression of history.