BLACKOUT

Disseminating enigmatic slogans across oversized billboards in the city of Milan, BLACKOUT positions itself within the broader trajectory of public install, a series of works centered on the interplay between art, artificial intelligence, and philosophy.

The choice of Milan as the project’s first stop holds strong symbolic weight: the city is historically regarded as Italy’s capital of visual communication and advertising. From here, the initiative will gradually expand to other Italian and international cities.

Phrases such as SWALLOW PROGRESS, MACHINES ARE LOYAL, and THE FUTURE IS GENERATED cut through the urban landscape, inscribing an ambiguous and unsettling lexicon that lays bare the deep contradictions between technology and contemporary identity.

At the heart of BLACKOUT lies the philosophical practice of maieutics, once again central to Skygolpe’s approach. The work continues his effort to weave this ancient method into the fabric of today’s reality. Whereas in the Socratic tradition, questioning was the vehicle of doubt, here it is the affirmation that plays this role, declarative enigmas carved into public space that act as silent detonators, cracking open the structures of thought and inducing a state of inner reflection.

For this project, the artist chose to collaborate with an autonomous artificial intelligence in generating the visuals that accompany the text, creating a co-creative apparatus. The result is a hybrid territory where the boundary between human and machine production is intentionally blurred, raising questions about creativity, authorship, and authenticity.

This tension is epitomized by the phrase ART WITHOUT ARTISTS. It moves beyond the topic of accessibility in image-making to address the fading presence of the creative subject in the age of automation. In a world where images are generated by systems capable of assimilating and reprocessing the entirety of humanity’s artistic legacy, the foundations of modern art, authorship, originality, the singular voice—begin to fracture. Yet rather than signaling a final crisis, this condition represents a critical threshold: a moment that demands a rethinking of the artist’s role, the nature of creative action, and the meaning of aesthetic production itself. BLACKOUT situates itself precisely within this fracture, not to resolve it, but to intensify it and transform it into a space of active inquiry.

PRESS:

son-5 https://www.ilgiornaledellarte.com/Mostre/Blackout-a-Milano-arte-pubblica-per-un-tempo-incerto 

https://tg24.sky.it/spettacolo/video/2025/05/27/skygolpe-blackout-la-sua-mostra-che-punteggia-milano-1013151

https://www.artuu.it/blackout-skygolpe-e-il-suo-nuovo-capitolo-critico-sullidentita-digitale/

Beyond its reference to Socratic maieutics, BLACKOUT is embedded in a broader theoretical framework, engaging deeply with fundamental reflections on language and technology. Notably, Skygolpe’s work resonates with Martin Heidegger’s thought, particularly his 1954 essay The Question Concerning Technology, in which he describes technology as a “mode of revealing”, one that simultaneously unveils and conceals reality. The work echoes this insight, suggesting that what technology reveals is never fully transparent, but marked by a persistent interpretative opacity.

In parallel, the project enters into dialogue with the philosophy of Emanuele Severino, whose radical meditation on technology as an inescapable structure of destiny is central to Technique and Destiny (1998). Severino identifies a fundamental contradiction at the heart of technological supremacy: it promises salvation while simultaneously threatening disorientation, an overwhelming horizon that absorbs the human even as it amplifies its potential.

In continuity with some of the most radical artistic experiments of the late 20th century, BLACKOUT also follows the path paved by figures such as Jenny Holzer, Barbara Kruger, and Lawrence Weiner, artists who transformed language into both a critical instrument and a visual form. As in Holzer’s Truisms or Weiner’s Statements, the text here doesn’t convey a single, definitive message but instead becomes an event: a linguistic apparition that invites the viewer into an open, unresolved confrontation. The messages dispersed throughout the work are intentionally contradictory, destabilizing any linear communicative logic and undermining the certainties on which many dominant cultural narratives are built.

This rich web of philosophical and cultural references is not a nostalgic homage, nor is it mere provocation. Rather, it forms the theoretical backbone of a deliberately open and complex work, one that seeks to provoke questions about our current condition, the ambivalence of progress, and the inescapable entwinement with technology.

An invitation to conscious reflection, not to synthesis, but to the acceptance of instability.
An aesthetic and intellectual experience that embraces contradiction as the original condition of our time.

“INGOIA IL PROGRESSO” (SWALLOW THE PROGRESS) Via Canonica 35, Milano
“LE MACCHINE SONO FEDELI” (MACHINES ARE LOYAL) Via Battista Grassi, Milano
“ARTE SENZA ARTISTI” (ART WITHOUT ARTISTS) Piazzale Istria 14, Milano
“IL FUTURO È GENERATO” (THE FUTURE IS GENERATED) Via Rogoredo 95, Milano
“EMPATIA DIGITALE” (DIGITAL EMPATHY) Viale Bodio 17, Milano
“IL NUOVO DIO È DISPONIBILE H 24” (THE NEW GOD IS AVAILABLE 24/7) Viale Sarca 375, Milano

CONTACT 

This work investigates the representation of contact between human and machine. Presented at WUF Studio during the press preview of BLACKOUT, the film acts as the conceptual counterpoint to the public urban installation. While the BLACKOUT billboards operate through synthesis and impact, CONTACT offers a more layered, introspective reflection on the state of the visual in a post-digital age, retaining the same photographic references printed as the backdrop for the outdoor posters.

The work begins with an explicit visual citation: Michelangelo’s The Creation of Adam. Yet the reference is not approached with nostalgia or reverence, but rather as a conceptual prompt, used to question the current status of the gesture, of identity, and of authorship within a framework governed by automated processes.

The video was generated entirely through artificial intelligence. This decision is not technical, but conceptual. It removes manual intervention from the production process, shifting focus toward delegation, toward the algorithm as active executor, and toward the critical value of the output itself. In CONTACT, the gesture of touch is never fully realized. Even when hands appear to clasp, a sense of estrangement or detachment lingers. Human, robotic, and hybrid hands approach without ever fully converging, or do so only momentarily, producing a sustained tension that generates a condition of ambivalence in the viewer.

The film challenges the classical binary between subject and tool: the robot is no longer a mere prosthesis, but an actor within a posthuman aesthetic in which the boundaries between the artificial and the organic are increasingly unstable.

PUBLIC INSTALL

Through bold slogans like “DERIVATIVES”, “FEAR AND GREED”, and “WEB SCRAPING”, “PUBLIC INSTALL” distills the economic, cultural, and informational forces shaping our time. Using conceptual activation, such as stark white billboards emblazoned with powerful statements, the project invites reflection on the mechanisms defining contemporary reality, bridging the digital and physical realms.
Terms like “DERIVATIVES” draw from the financial world, where the value of an asset is often determined by derivative instruments rather than by tangible reality. This concept extends beyond finance, serving as a metaphor for a society in which information, art, and even identity are increasingly shaped by references, reinterpretations, and speculation rather than by original creation. Similarly, “FEAR AND GREED” references the well-known index that tracks investor sentiment as it fluctuates between fear and greed. Yet, these forces influence far more than just financial markets, they shape our relationship with technology, communication, and digital culture, fueling viral cycles and the broader mechanisms that drive contemporary society.
“WEB SCRAPING” points to the mass extraction of online data, once controlled by tech giants, now a widely accessible tool reshaping the balance of information power. AI-driven scraping blurs the line between public and private, making everything online a resource and turning individuals into unwitting test subjects. In an era where data is both hyper-accessible and tightly controlled, the rhetoric of information shifts: are we users, or are we being used? 

PAINT ON PIXEL - NEW YORK
19 - 21 DECEMBER 2024
OPENING: THURSDAY, DECEMBER 19TH, 6:00 - 8:00 PM EST
48 HESTER ST, NEW YORK, NY 10002

PAINT ON PIXEL 

WUF/ARTSLIFE - INTERVIEW

WUF proudly presents WUF Studio Lugano, our new studio set to host groundbreaking interviews and dynamic press showcases, and WUFCAST, our video broadcasting platform that offers master classes and high-end aspirational content for journalists, creatives, and innovators. We begin with an in-depth discussion featuring Skygolpe conducted by Luca Zuccala - journalist at ArtsLife - that goes beyond the digital surface to uncover the multifaceted perspective of an artist redefining contemporary art. 

Watch the full interview: https://wufcast.com/watch/4a90d6d5f940432ab0d8960baef14e82 

CHRISTIE’S HONG KONG 

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LOST SIGNALS (series)

PAINT ON PIXEL (series)

"Paint on Pixel" marks Skygolpe’s inaugural venture into the realm of physical art. Following a successful debut at Christie's auction in July 2022, the collection has been showcased through solo exhibitions across Switzerland, the United States, and the UAE.

This collection is significant as it represents one of the first successful attempts to merge physical art with digital technology. Each painting is linked to its NFT certificate, and for the first time in a prestigious context like Christie's, ownership of the physical painting was obtained through the auctioning of the digital certificate of authenticity.

Skygolpe’s artistic practice blends various digital and analog elements to achieve a hybrid outcome, situated at the intersection of virtual and tangible dimensions. This body of work features canvases where the physical and digital realms collide, exploring the relationship between meaning and context.

Acrylic paint on canvas interacts with diverse underlying materials and patterns, fostering a dialogue that transcends a monothematic definition of painting, embracing novel, heterogeneous forms. Each piece is crafted akin to a “desktop,” blending fragments of various references to create comparisons and juxtapositions while revisiting a gestural approach. The artist employs an array of materials and techniques, both digital and physical, merging them into a seamless, indissoluble whole.

For Skygolpe, a painting represents a complex system comprising numerous objects, each reproduced in various ways under distinct technical conditions. These objects possess unique shapes, sizes, positions, and surface morphologies. Numerous factors influence their digital manifestation on a physical surface. The works undergo scanning, printing, and reproduction before being revisited until they embody a result mediated by chance.

Skygolpe’s signature silhouette often appears with blurred, flaking edges, surrendering its form in favor of an abstract composition that gradually integrates and assumes a central role in the work, becoming the true subject. Many of the textures employed in his paintings are conceived entirely in the digital realm, while others are derived from physical color experiments conducted in the studio. Skygolpe is captivated by the potential to alter and transform reality and the viewer’s perception through these works, which often represent attempts at partial compositions—sometimes complete, other times still awaiting completion.


PAINT ON PIXEL EXHIBITIONS:

2022 July 8-21, Christie’s, New York, US
2022 September 29, Galerie Widmer Auktionen, Zurich, CH
2022 November 10, Lugano, CH
2022 June 13-14, Basel, CH
2023 November 15, 2023, January 7, 2024, Dubai, UAE
2024 May 29, Christie’s, Hong Kong, HK
2024 June, TBD, Basel, CH 

THIRD DIMENSION (solo exhibition)
Curated by: Giuseppe Moscatello 
Venue: Foundry, Dubai
Date: November 15, 2023 – January 7, 2024

“Throughout history, artists have predominantly been perceived as mirrors of society, encapsulating its core, and reflecting its ethos.
Skygolpe emerged as a notable figure in the post-NFT artistic movement. The name blends ‘Sky’, denoting infinity, with ‘Golpe’, indicative of ‘human intervention’. By reinterpreting the conventional artist’s role, he introduces a novel approach to the art world, venturing beyond the borders of traditional art practices and infusing his work with an entrepreneurial spirit. Instead of just being the creator of his work, he positions himself as an innovator and visionary, reshaping and defining cultural narratives, and therefore pushing boundaries.
For Skygolpe, a canvas acts as a gateway, a multifaceted system encompassing diverse elements, each depicted uniquely under specific technical paradigms. These elements feature distinct forms, dimensions, placements, and texture dynamics. His work merges digital and physical aspects and delves deeply into philosophical domains. His hallmark silhouette, frequently appearing with indistinct, disintegrating borders, morphs into an abstract structure that gradually assumes prominence within the artwork.
For Skygolpe’s debut in Dubai and across the Arab region, he is presenting an exhibition titled “Third Dimension,” which combines bodies of work he has created over the last few years. For him, this represents an emblem of emotional depth, concealed implications, or the intricate layers of human consciousness. A bi-dimensional artwork can represent the observable universe while introducing a “third dimension” could unveil the concealed, unexpressed, or inner dimensions of a theme. This display serves as a reflective journey, revisiting the past, assessing the present, and envisioning the future through a diverse perspective.

Skygolpe’s silhouettes offer a fragmented view of identity, conveyed through a modern interpretation of pop art. These multi-tiered entities, defined by a radiant color spectrum and a diverse array of forms, voice a new-age symbolism, nurturing a singular visual language.
This body of work comprises canvases where the physical and digital realms converge, exploring the relationship between meaning and context. Each piece is crafted reminiscent of a “desktop,” blending fragments of other references to foster comparisons and juxtapositions while revisiting a gestural approach. The canvases thus encapsulate a process that generates “errors” and unforeseen outcomes, culminating in the composition of the final painting. His acrylic paint on canvas interacts with diverse underlying materials and patterns, initiating a dialogue that goes beyond a singular definition of painting. Many of the textures utilized in his paintings originate entirely in the digital domain, while others stem from physical color experiments conducted in the studio.

Giuseppe Moscatello


Press:

https://news.artnet.com/art-world/skygolpe-foundry-dubai-2390082
https://news.artnet.com/art-world/7-questions-skygolpe-2368192
https://www.moussemagazine.it/magazine/skygolpe-at-foundry-dubai-2023
https://artviewer.org/skygolpe-at-foundry/

NFTS ARE DEAD 
intervention in various locations, Italy
Date: January 10, 2024 – on-going

The declaration 'NFTs are dead' serves as a provocative statement designed to stimulate contemplation and prompt reflection on the rapid pace at which we embrace trends within the digital art scene. This statement, which appears fully immersed in the present moment, actually engages with the ongoing tension through its inherent contradiction.
Discussing the 'death' of something as novel as NFTs is puzzling. It's akin to witnessing the birth of a star and then, declaring it extinguished. In our world, where even our digital personas have a life of their own in bits and bytes, asserting that something is dead transcends mere words – it's a complex riddle. Despite appearances, this work isn't disparaging NFTs. Instead, it invites us to look far beyond the current perspective.

The concept of this work was first introduced by Skygolpe during his solo show at FOUNDRY in Dubai, 15.11.23 / 07.01.24.

Press:
https://www.ofluxo.net/nfts-are-dead-intervention-in-various-locations-in-italy-by-skygolpe
https://artviewer.org/skygolpe-at-various-locations/















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GRAILS V by PROOF
Curated by Eli Scheinman
Date: December 2023

Title: POLYFEEL
Year: 2023

Explore:
https://www.proof.xyz/grails/season-5

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PCS: Post Concrete Semiotics

A central discovery of modern experimental psychology is that human behavior is heavily influenced by external factors without the subject being fully aware of the influence. Behavior is sensitive to context and the mind is malleable, meaning it can be constantly shaped and reshaped by a myriad of causal factors.Human beings possess a large number of epigenetic traits, so it cannot be excluded that future and extended interaction with VR environments may lead to more fundamental changes, not only at the psychological level but also at the biological level.
The plasticity of the mind is not limited to behavioral traits – the illusion of reincarnation, for example, is possible because the mind is so malleable that it can even distort its own reincarnation. To be clear, embodied hallucinations can arise from normal brain activity and do not necessarily imply changes in the underlying neural structure. Such hallucinations naturally occur in dreams, for example, or in phantom limb experiences, out-of-body experiences, and body integrity identity disorders, and sometimes include changes in what is known in consciousness research as “unit of identity,” a phenomenon that relates to the conscious content we currently experience as “ourselves.”

“As one of the leading artists in the digital art space, Skygolpe mixes in his practice different digital and analogue elements, taken up by culture and the new contemporary aesthetics that characterize technology, to achieve a hybrid result that lives in a middle ground between the virtual and real dimensions (mixed reality).
In this show, Skygolpe blurs the lines of representation, inviting the visitor to question the normal boundaries between virtual and physical experiences and the long series of evocations generated by the works and by their arrangement/juxtaposition as symbols within the gallery.
Through this open evocation and by focusing on the exterior and aesthetics of the technology, this project pushes the viewer to consi- der the decisive presence of the digital within their own lives and in their experiences.
In this exhibition, Skygolpe makes us become part of a research deliberately focused on the surface of technology, on the appearance , while describing with the ready made works exhibited, a technological brutalism composed of symbols in constant becoming.”

Press:

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OTHER WORKS

Skygolpe's installation work is notably diverse, blending ready-made sculptures, screens, and digital pieces into a seamless and continuous reference framework. The themes of perception and contradiction once again take center stage in this more experimental collection.

Often, the use of LCD screens hints at a realm beyond the physical confines of the gallery, expanding the installations into external references, while metal structures support and divide the gallery space to define focal areas. Other mediums include artificial intelligence, which is used to produce entirely "synthetic" video works and photographs from prompts, bypassing traditional photography methods.

In the narrative woven through Skygolpe's works, layers of meaning fluctuate between the visible and the invisible, the authentic and the synthetic, fostering an ongoing dialogue between reality and perception. The intersection of physical and digital realms is further expanded as augmented and virtual reality are employed to break down the boundaries of the exhibition space even more.

These tools are not merely technological additions but are catalysts for new forms of interaction and immersion, encouraging viewers to transcend their passive roles and become co-creators of the artistic experience.

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This configuration seems to comment on the very act of observation as a performative gesture, transforming the gallery itself into a stage where the viewer becomes part of the exhibit, unwittingly performing under the constant gaze of electronic eyes.
This presentation evokes a multiplicity of interpretations concerning the interplay between surveillance and spectatorship, and the possibility of expanding the gallery space beyond its spatial boundaries to merge with the virtual ones.

The arrangement might reflect on the ubiquitous nature of surveillance in contemporary society, an omnipresent spectator silently recording every movement within the ambit of its lens. The viewers, devoid of their conventional context, are repurposed almost like design objects, their functional form taking on new meaning within the gallery's confines, posing silent queries about the nature of art and observation.

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AI - MORPHIC TECHNOLOGIES (series)

This photographic series emanates from an assemblage of technological components, which, through the power of artificial intelligence, are hybridized to give birth to images that oscillate between the depiction of a dysfunctional object and its form.
Intriguingly, the subjects within these images do not truly exist; they are entirely generated through the capabilities of AI.
The project’s intent is to delve into the paradoxes and potentials of artificial intelligence in technological design, examining the algorithmic processes that culminate in the creation of form, momentarily revealing glimpses and improbabilities of these non-existent entities.
The objective of this endeavor is to unveil the latent and unanticipated repercussions of employing AI processes in the development of installations, evoking a digital reinterpretation of the ready-made.
Through these images, the intricate mechanics underpinning the genesis of shapes are laid bare, as the project endeavors to discern insights into the visualization of these fully AI-generated, non-existent objects.
By incorporating a diverse spectrum of materials, the project aims to showcase the versatility of algorithmic creation, merging technological components with unconventional or discarded materials such as plastic bags, plastic elements, and other generative forms of ambiguous practical utility.

installation view: the art of printing (series), readymade, 2023