works of Fassone, we realize that his practice
may be inserted into this system and that the
artist is basically also revealing the tricks of
his trade. Doesn’t Roberto use appropriation
when he recombines images and video found
online into collages that act as a backdrop
for performances in which the artist dances
and sings to playback pop songs, like for exam-
ple in Jeg Er Enorme Jævler (2014) or All
Blue Everything (2016)?
What is Lipogam (2011), a presentation on
how limitations can free the imagination, that
he developed and presented without ever pro-
nouncing the letter ‘R’, if not a voluntary effort
to overcome an unnecessary obstacle?
Isn’t 35 Alternate Covers to This Book (in col-
laboration with Friends Make Books, 2015),
a publication made up of 35 different covers
presented 35 consecutive times in 35 different
ways with different words and decoration,
fundamentally a knowledgeable use of the te-
chnique of series, employing repetition with
slight variations?
And isn’t Fassone in effect dealing with the
concept of paradox in the performance I’m
sorry…it doesn't work…I’m really sorry
(2016) when he tries in vain to delete a cor-
rupt file, generating public embarrassment?
Finally, isn’t Nothing Compares 2 Prince
(2016), a monologue made by recombining
phrases taken from the
lyrics of one of his he-
roes, a good example of
remix?
Yet, like for any magi-
cian, and basically any
good artist, fact and fic-
tion often become blur-
red. Before the work of Roberto Fassone, kno-
wing the tricks may make us suspicious, but
at the same time it doesn’t stop us from wan-
ting to play with him.
Fanta Studio
51
with the world of fairy tales, and we viewers
become attentive listeners eager to be en-
chanted. Roberto’s approach is not intended
to desecrate or trivialize the works he men-
tions or uses in his performances. The starting
point of this investigation is rather his ama-
zement when confronted with what he calls
“particularly well-resolved works of art,” and
it’s no coincidence that many artists are re-
peatedly mentioned in his work.
Fox With The Sound Of Its Owl Shaking
(2016) is a performance and online tutorial,
in which strategies borrowed from advertising,
magic, game design, and writing are used to
unravel the mechanisms behind the making
of a work of conceptual art. If we try to apply
some of the tactics described to explain the
But The Magic Of These Therapists Has A Structure
(particolare / detail), 2016, Courtesy of the artist
Fox With The Sound Of Its Owl Shaking, 2016
Veduta della performance presso Archivio fotografico MART, Rovereto (TN) /
Performace view, Photographic Archive, MART, Rovereto (TN)
Courtesy of the artist, Centrale Fies, Dro (TN) e / and MART, Rovereto (TN)
Foto / Photo: Jacopo Salvi
All Blue Everything,
2016, Veduta della performance presso Macao, Milano / Performance view,
Macao, Milan. Courtesy of the artist. Foto / Photo: Edoardo Mozzanega
