Fabian Marti. Galleria Fonti, via Chiaia 229, Napoli Italia - zip tel/fax

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1 Fabian Marti

2 Fabian Marti Fribourg, Switzerland, 1979 Lives and works in Zurich, Switzerland and Los Angeles CA Solo Exhibitions 2017 Folly of Being, Galleria Fonti, Naples Box Job / Body Book, Marti Ceramics, Inglewood, US 2016 Fabian Marti, Kunstmuseum Luzern, Lucerne, Switzerland 2015 Fabian Marti, Parc Saint Léger, Pouges, France, cur. Catherine Pavlovic G.I.F.T, Der Tank, Acamady of Art and Design, FHNW, Basel, Switzerland, cur. Chus Martinez Tais-toi accélérationiste!, Galleria Fonti, Naples 2014 Galerie Peter Kilchmann, Zurich, Switzerland WAHE!, Guy Bärtschi, Geneva, Switzerland 2013 Artwork is Network, Wallriss, Fribourg, Switzerland, cur. Lauris Paulus MARTI COLLECTION, Centre Pasquart, Biel, Switzerland, cur. Felicity Lunn Hotel Palenque, HHDM, Vienna, Austria, cur. Elise Lammer 2012 The Zen of Running, Paradise Garage, Venice, CA, United States 2011 And when we mad & vrntynhzln clgknnmnlyn wkohz, Kunstverein Braunschweig, Germany And Then We Mad, galleria Fonti, Napoli Manor-Kunstpreis Kanton Zürich, KUNSTMUSEUM Winterthur 2010 Fabian Marti, Open Space 2010, 44th Art Cologne, Cologne, Germany Hans Trudel Haus, Baden, Switzerland 2009 Fabian Marti & Kaspar Müller, New Jerseyy, Basel The Dor, ISR Spazio Culturale Svizzero, Venice Ruins, Regrets and Visible Effects, curated by S. Lacagnina, Istituto Svizzero di Roma 2008 New Work, New Work, Galerie Peter Kilchmann, Zurich Fruchtzimmer, Alexandre Pollazzon Ltd, London 2007 Sono Legione, Galleria Fonti, Naples Ius Primae Noctis, curated by Alexandra Blättler Coalmine Fotogalerie, Volkartstiftung, Winterthur, Switzerland Totentanz, curated by Roman Buxbaum and Adi Hoesle, Salon Vert, Prague Ape, Mom, I, Galerie Peter Kilchmann, Zurich 2005 Fabian Marti vs Martin Biafa, curated by Arthur Miranda, White Space, Zurich Bois de Boulogne, Marks Blond, Berne, Switzerland 1999 Fabian, Galerie Goldankauf, Munich Group Exhibitions 2017 Spiegelgasse, curated by Gianni Jetzer, Houser & Wirth,London Mail Order Express, Lovaas Projects, Munich, Germany, cur. Alana Alireza Body Without Organs, Ochi Projects, Los Angeles, US, cur. Rives Granade Third Presentation, Sammlung Boros, Berlin, Germany Freshwater Fish, sommer contemporary art, Tel Aviv, Israel, cur. Irit Sommer L'image, Galerie Francesca Pia, Zurich, Switzerland, cur. Vincent Romany Condo, Emalin Ltd., London, UK

3 2016 A Stranger in My Grave, Evergreene Studio, Los Angeles, US, cur. Véronique Bacchetta Momente der Auflösung, Museum Marta Herford, Braunschweig, Germany Tinguely2016, Musée Gutenberg, Fribourg, Switzerland, cur. Mélanie Roh Après Ski, Karma International, Los Angeles, US 2015 So Much More than the Sum of Its Tropes, Norma Mangione Gallery, Turin, Italy, cur. Gianluigi Ricuperati Avec des mots, Art Bärtschi & Cie, Geneva, Switzerland Please respond-, M/L Artspace in Venice, Venice Mainzer Ansichten, Kunsthalle Mainz, Mainz, Germany, cur. Thomas Trummer Zurich & elsewhere, Gallery Carlos/Ishikawa, London, UK, cur. Olu Michael Odukoya When Things cast Shadow, Galerie Peter Kilchmann, Zurich, Switzerland Hard Work, Swiss Institute, New York, US, cur. Valentin Carron Unendliche Bibliothek, Altefabrik, Rapperswil, Switzerland, cur. Alexandra Blättler An Earthquake at the Racetracks, Museo de la Ciudad, Querétaro, Mexico, cur. Jürgen Dehm 2014 Summer Sweatshop, Supportico Lopez, Berlin, Germany, cur. Liz Craft, Pentti Monkkonen The Crime was Almost Perfect, PAC Padiglione d'arte Contemporanea, Milan, cur. Cristina Ricupero Every day in every way I m freely opening my senses to the beauty in myself and opening up to all the beauty around me and in ll the people I will encounter, Martos Gallery, New York, US, cur. Ebony Haynes, Taylor Trabulus A Place like This, Klöntal Triennale, Glarus, Switzerland, cur. Alexandra Blätter & Sabine Rusterholz Gastraum, Museum Rietberg, Zurich, Switzerland, cur. Damian Christinger Against the Grain, Centre de la Photographie, Geneva, Switzerland, cur. Sébastien Leseigner Kill All Monsters, Ausstellungsraum Klingental, Basel, Switzerland, cur. Reto Thüring 100 Years Williams S. Burroughs, von Bartha, Basel, Switzerland Strawberry Sausages, Nosbaum & Reding, Luxembourg, Luxembourg New Age, Nathalie Karg, New York, US Blackboard White Page, Kunst im KSOe, Oerlikon, Switzerland, cur. Maud Châtelet, Ana Roldan Witte de With, Rotterdam, Amsterdam, cur. Cristina Ricupero 2013 Shape of Thoughts, The Breeder, Monaco, France Post-Mortem, Forde, Geneva, Switerzland Pièces montrées, Fondation Fernet-Branca / Frac Alsace, Sélestat, France Chambres de Luxe, Kunstmuseum Thun, Switzerland Salon der Angst, Kunsthalle Wien, Vienna, Austria, cur. Cathérine Hug & Nicolaus Schafhausen Art as Crime, Crime as Art, Galerie Vermelho, Sao Paolo, Brazil, cur. Cristina Ricupero Some End of Things, Museum für Gegenwartskunst, Basel, Switzerland, cur. N. Dietrich, Scott Weaver Ich bin dein Nachbar, Bromer Art Collection, Roggwil, Switzerland Dark Ages to Enlightenment, Tower of London, UK, cur. Laurence Dreyfus & Karen Marr Pétrone / Pétrole, Air de Paris, Paris, France, cur. Vincent Romagny Artists for Tichy - Tichy for Artists, GASK Museum, Prague, Czech Republic, cur. Zdenek Felix P&CO., Thomas Duncan Gallery, Los Angeles, CA, US 2012 Cara Domani, Museo d Arte Moderna di Bologna, Bologna, Italy Kunst-Auslese, Schloss Hollenburg, Krems, Österreich Cosmic Laughter. Timewave zero, then what?, Ursula Blickle Foundation, Kraichtal, Germany, cur. Cristina Ricupero and Fabian Marti Galerie Peter Kilchmann, Zurich, Switzerland La Jeunesse est un Art, Aargauer Kunsthaus, Aarau, Switzerland A CUF FUL SKUL, Istituto Svizzero Roma, Milan, cur. Fluck I Paulus Death Can Dance, Townhouse, Zurich, Switzerland, cur. Lori Hersberger Take the Leap, Peep-Hole, Milan 2011 Collection: Migros Museum, Kunsthalle Krems, Krems, Austria The Keno Twins V, Associazione Barriera, Torino, cur. Michael Bauer Florbelle (after Sade), Air de Paris, Paris, France, cur. Vincent Romagny Secret Societies, CAPC Musée dʼart Contemporain Bordeaux, Bordeaux, France, cur. Cristina Ricupero, Alexis Vaillant Abstractions sentimentales et quelques editions, CNEAI, Paris, France, cur. Véronique Bacchetta Secret Society, Schirn Kunsthalle, Frankfurt, Germany, cur. Cristina Ricupero, Alexis Vaillant Illuminations. 54. International Art Exhibition, Biennale di Venezia, Venice, Italy, cur. Bice Curiger Wer ist der/die beste Künstler/in mit Bernbezug?, Milieu, Bern, Switzerland The Garden of Forking Paths, Migros Museum, Zurich / Frohussicht, Samstagern, cur. Heike Munder Livingroom Exotica, Kunsthaus Glarus, Glarus, cur. Sabine Rusterholz 2010 Die Nase des Michelangelo, Galerie Peter Kilchmann at Marktgasse, Zurich, Switzerland Chambres à Part IV, La Réserve, Paris, France, cur. Laurence Dreyfus Alienator : Le Retour, Museum Murten, Murten, Switzerland, Esther Maria Jungo/Charlatan

4 Performative Structures - New Existentialism, Altefabrik Gebert Stiftung für Kultur, Rapperswil, Switzerland, cur. Alexandra Blätter Issues, Darsa Confort, Zurich, cur. Fredi Fischli The Artist and The Photograph, Ausstellungsraum Klingental, Basel, Switzerland, cur. Clare Kenny Swiss Art Awards, Messezentrum Basel, Basel, Switzerland Anonymous Materials, Binz 39, Zurich, Switzerland, cur. Pamela Rosenkranz The Library of Babel/In and Out of Place, 176 Zabludowicz Collection, London, cur. Anna-Catharina Gebbers 2009 Werkschau 09, F+F Schule für Kunst und Mediendesign Zürich, Zürich Offset, curated by Matthew Spiegelmann, Mont Tremper Arts Summer Festival, Catskill Mountains, NY Malzeit!, Galerie im Traklhaus, Salzburg Event Horizon, curated by Karolina Dankow & Marina Leuenberger, Raster, Warsaw Stipendium Vordemberge-Gildewart, Kunsthaus Aarau, Aarau, Switzerland Prose pour des Esseintes, Karma International, Zurich 2008 The Eternal Flame, curated by Sabine Schaschl, Burkhard Meltzer, Kunsthaus Baselland, Muttenz, Switzerland Der Garten der Pfade, die sich verzweigen, curated by Heike Munder, Kunstraum Deutsche Bank, Salzburg Legend, curated by Alexis Vaillant, Domaine de Chamarande, France Âpre mont, curated by Nicolas Tremblay, CCS, Paris Science & Fiction, curated by Marie Céclie Burnichon & Léa Fluck,La Générale en Manufacture, Paris 2007 Anathema, curated by Boris Magrini, Fri-Art, Fribourg, Switzerland Werk- und Atelierstipendien der Stadt Zürich 2007, Helmhaus, Zurich, Switzerland Swiss Art Awards, Basel I just can t get enough / Capricious#6, curated by Caroline Niémant, CBK, Arnehm, Netherlands 2006 Is that All? for Georges Abstraction Surface Air, curated by Bureau des Vidéos (Nicolas Trembley), Monthly Video Program, Georges Restaurant, Centre Pompidou, Paris Heimlich/Unheimlich, curated by Ulrich Pohlmann, Stadtmuseum, Munich Six Feet Under, curated by Bernhard Fibicher, Kunstmuseum Berne, Berne Contragolpe - Reenacting a failed Operation, Instituto Divorciados, Berlin Less Than Zero, Festival der Künste, University of Applied Sciences and Arts Zurich (HGKZ), Zurich Fabian Marti presents Martin Biafa, curated by Gabrielle Giattino, with Valentin Carron, Swiss Institute, New York Hail, Galerie Hinterconti, Hamburg 2005 Our House in the Middle of the Street, curated by Sarah Züricher, Fri-Art, Fribourg 2003 Auf nach New York, Stadtgalerie, Berne 2000 Denken, Drücken, Sprechen, Kunstraum, Munich Josef Bernhard on Joseph Beuys, Lothringer 13, Munich Ans SPSAS, Fribourg, Switzerland Collaborations 2006 AMBERG & MARTI zeigen (Kafffee, Kunst, Kuchen, Kocktails), Zurich Exhibitions with: Beat Huber, Ana Roldan, Pamela Rosenkranz, Urs Zahn, Annelise Coste, Gilles Rotzetter, Lukas Wassmann, Christoph Draeger, Andreas Dobler, Aloïs Godinat, David Hominal, Florian Germann 2001 Artdirector, Thing.net, New York 1999 Cofounder of the artists collective PAC and the artist-run space CAP, Fribourg, Switzerland Grants & Awards

5 2007 Grant from Yvonne Lang-Chardonnens Foundation, Zurich 2006 Diploma with distinction, University of Applied Sciences and Arts Zurich (HGKZ), Zurich Residency from Canton Fribourg, Atelier Jean Tinguely, Cité des Arts, Paris Bibliography 2013 Wie wollen wir leben? am Strand, Elke Buhr, Monopol, Nr. 4, Berlin, Germany, April 2012 Arte e affinita di coppa, Arte Magazine, Naples Cosmic Laughter No. 1. timewave zero, then what?, Ursula Blickle Stiftung, Kraichtal, Germany, texts by Gary Lachmann, Ana Teixeira Pinto, Sternberg Press, Berlin Fabian Marti. and then we mad & qiiyss nlff isssw myttl, Kunstverein Braunschweig, Kunstmuseum Winterthur, texts by Hilke Wagner, Simona Ciuccio, Rein Wolfs, Salvatore Lacagnina, Mousse Publishing, Milan, German/Engl. Schweizer Kunst im 21.Jahrhundert: Die Sammlung Nationale Suisse, Andreas Karcher, Nathalie Loch, Verlag Reinhardt, Basel 2011 The Garden of forking Paths, migros museum für gegenwartskunst, Zürich, texts by Heike Munder, Horst Bredekamp, ex. cat. Rising. Young artists to keep an eye on!, Ralf Daab and Olaf Salié, Daab Media GmbH, Cologne, German/Engl., pp Wohin am Wochenende?, Monopol, Berlin, Germany, Dec. 1 So unterkühlt wie im im Weltall, Gerhard Mack, NZZ am Sonntag, Zurich, June 5, p. 69 Berauschendes Lichtspiel der Sonne, Frederic Auderset, Feiburger Zeitung, Freiburg, Switzerland, p. 11 Psychedelik und chaotische Tintenfische, Tages Anzeiger, Zurich, p. 26 Fabian Marti, Kunstbulletin, Zurich, June, p. 75 ILLUMInations, 54th International Art Exhibition, La Biennale di Venezia, Venice, pp Die Rückeroberung der Welt, Julia Voss, Niklas Maak, FAZ, Frankfurt, June 4, No. 129, p. 33 Time for the monkeys to move into hyperspace, Aoife Rosenmeyer, Spike, Vienna, No. 28, Summer, pp Kunst zwischen Kindern und Kühen, Michael West, Migros Magazin, Zurich, No. 26, pp Grosses Kunst-Halali an der Art Basel, Sabine Altorfer, Aargauer Zeitung, Baden, June 15, p. 19 Schweizer leuchten in Venedig, Ewa Hess / Bruno Schlatter, SonntagsZeitung, Zurich, June 5, pp Kunst-Karrieren: Bilanz-Künsler-Rating, Brigitte Ulmer, Bilanz, Zurich, No. 11, pp Fabian Marti, Daniel Kothenschulte, Monopol, Berlin, No. 6, June, p. 44 Narreteien zwischen Kalb und Huhn, Brigitte Ulmer, Neue Zürcher Zeitung, Zurich, May 3, p. 17 Beim Kuhstall links, Ewa Hess, SonntagsZeitung, Zurich, May 1, p. 42 Schamane und Deus ex Machina, Der Landbote, Winterthur, , p. 16 Manor-Kunstpreis an Fabian Marti, Philipp Meier, Neue Zürcher Zeitung, Zurich, April 15, p. 21 Vorschau auf die 54. Biennale Venedig, Urs Steiner, Neue Zürcher Zeitung, Zurich, March 15, p. 21 The Nose of Michelangelo, Quinn Latimer, Frieze, London, No. 137, March, p Swiss Art Awards, Ursula Huser, Andreas Münch, Bundesamt für Kultur, Bern Junge Konzept- und Videokunst, Suzanne Kappeler, Neue Zürcher Zeitung, Zurich, Sept. 29 D art, d art, Nicolas Trembley, Vogue, Paris, Aug., pp Am Anfang war eine Fotografie, Annina Fischer, Basellandschaftliche Zeitung, Liestal, Aug. 11, p. 25 Fabian Marti, Oliver Kielmayer, ArtPulse, Miami, No.1, Summer, p. 80 Die neue Generation spitzt den Griffel, Alexander Marzahn, Basler Zeitung - Kulturbund, Basel, June 14 Art Contemporain en Suisse: Le Guide 2010, L Hébdo, Lausanne, Special Issue, No. 2, p. 19 Neurosige Aussichten, Tagesanzeiger, Züri Tipp, Zurich, No. 25, p. 31 ART Basel", René Ammann, SI-Style, Zurich, No. 6, June, p. 21

6 City Report Basel / Zurich, Quinn Latimer, Frieze, London, June Aug., pp Kyptologie der Kristalle, Pilze und Maske, Dietrich Roeschmann, Artline, Freiburg (im Breisgau), No. 4, p. 17 Erinnerung an der Kunst, Sabine Altorfer, Aargauer Zeitung, Aarau, March 13, p. 22 Magisch und Rätselhaft: Fabian Marti, Dietrich Roeschmann, Annabelle, Zurich, Feb. 24, No. 4, p. 46 Fabian Marti, Salvatore Lacagnina, Flash Art, Milan, No. 270, Jan. - Feb., p. 80 Fabian Marti: Cahier d Ariste, texts by Heike Munder, Daniel Baumann, Pro Helvetia, Zurich, Edizioni Periferia, Lucerne/Poschiavo (mono.) 2009 Top 100 Emerging Artists, Flash Art, Milan, No. 268, Oct., pp Piero Golia and Fabian Marti, Francesco Stocchi, Artforum, September 2009 Mahlzeit, Dietgard Grimmer, Galerie im Traklhaus, Salzburg Kunstszene: Trends Künstler-Rating, Jörg Becher, Bilanz, Zurich, June 2009, n 11 Manor-Kunstpreise, Kunst-Bulletin, Zurich, June 2009 Ein Tag im Leben von, Das Magazin, Zurich, June 2009 n 26 Las Mil Caras de Una Imagen, Paolo Bianchi, Exit Express, Madrid, May I am Many, Vincenzo de Bellis, Mousse, Milan, Issue 16, December 2008 (Turning The) Back To The Future, Florent Delval, Code Magazine, Bruxelles, n 7, 2008 Künstlerisches Krisenmanagement, Karolina Dankow, Neue Zürcher Zeitung, Zurich, November 2008 Art & Entrepreneurship, Ed. Michelle Nicol, Credit Suisse, Zurich, 2008 The Eternal Flame: eine Reise ins ungewisse Glück, Dietrich Roeschmann, Regioartline, Kunstmagazin, Freiburg, September 2008 Ewige Flamme, WOZ, die Wochenzeitung, Zurich, August 2008 Radar: Fabian Marti, Heike Munder, Art Magazin, Hamburg, July 2008 Reloaded Questions, Martin Coomer, The Big Issue, London, May 2008 Valentin tient son Paris, Véronique Ribordy, Le Nouvelliste, Sion, March 2008 Là-haut dans la montagne, Stéphane Moisdon,Technikart, Paris, March 2008 Komposition für einen Rhombus: Fabian Marti, Used Future, Basel, n 31, (artist book) Fabian Marti, Gigiotto Del Vecchio, Flash Art Italia, February 2008 Wiedersehen und entdecken, Evelyne Baumberger, Aargauer Zeitung, Aarau February im 21. Jahrhundert, Tages Anzeiger, Zurich, January 2008 Exhibition of the week, Ossian Ward, Time Out, London, January I baffi strappati di Hitler, R. Caragliano, S. Cervasio, La Repubblica, December 2007 PHOTO ART Fotografie im 21. Jahrhundert, editor Uta Grosenick and Thomas Seelig, DuMont Verlag, Cologne, October 2007 Kaleidoskop des literarischen Scheckens, Entwürfe, N. Olonetzky, Zurich, October 2007 Von Kunst und Tieren, Neue Zürcher Zeitung, Lilo Weber, Zurich, October 2007 Im Zeichen des Mondsterns und der Nacht, Landbote, Ilucia A. Cavegn, Winterthur, October 2007 Fabian Marti in der Coal-Mine-Fotogalerie, Neue Zürcher Zeitung, Zurich, October 2007 Doku Fotografie, Tages Anzeiger, Zurich, October 2007 Kunst, In der Grenzzone, Züritipp, Sascha Renner, Zurich, October 2007 Just can t get enough, Capricious Magazine Issue #6 New York, June 2007 Zürich: Lucy & Jorge Orta und Fabian Marti bei Peter Kilchmann, Kunstbulletin, Dominique von Burg, May 2007 Kunst, Fabian Marti im Project Room bei Kilchmann, Neue Zürcher Zeitung, Zurich, March 2007 Photography, Made in Zurich, Thomas Weski, Scheidegger & Spiess 2007 Leichen, Totenköpfe und Skelette, Fibicher, Bernhard, in: Six Feet Under Autopsie unseres Umgangs mit Toten, Kunstmuseum Bern, Berne 2006 Die Leichtigkeit des Morbiden, Angelica Tschachtli, Freiburger Nachrichten, Fribourg, July Kritikertipps, Züritipp, Zurich, April 2005 tais-toi accélérationiste! (solo exhibition, galleria Fonti Napoli, 2015) tais-toi accélérationiste! by Dr. Paul J. Ennis Life emerged from de-subjectivated matter. This qualitative leap is the embryonic stage leading, through torturous routes of mass extinction, to our taking centre-stage. Entangled in the arms of an octopus called conscious life we were hatched into an existence none of us could possibly have asked for. For we were not there before our birth and nobody could ask us: is this what you want? Our species has a desperate desire for procreation, it celebrates fertility, and yet only a few ask whether it is worth it at all. On this question things are truly black and white: either existence is better than non-existence or it is not. Morose anti-natalism stalks the egg. The oval we steal and eat for sustenance

7 from creatures we recognize as living and yet lesser. Lesser because in our narrative of sentience evolution is a teleological line leading to consciousness. It s an illusion, of course. We think because we adapted in just the correct manner, in response to contingent pressures, but this good fortune, if one wishes to call it that, is held down by nothing more than a blind biological evolutionary process. Let us recall a false memory that is nonetheless excellent advice: tais-toi accelerationiste! It never happened. And this is the point lost on the politicized: no matter how it all ends, and it will end, as we know, nothing will have ever really happened. It is better in this sense to shut up (I would if I could, as one writer said to the other). To stay silent is a challenge of immense proportions for our species. To recede from the desire to leave a trace or a mark. Proof that you were here. Fertile, vital, alive. When, to borrow the logic of Ray Brassier s transcendental extinction, everyone s already dead when you think according to cosmological time rather than human temporality. If all matter dissolves, and this is where the cosmos is going, you are retroactively dead. The French philosopher Quentin Meillassoux once revealed a desire to visit the world of de-subjectivated matter and to return with tales to tell. Both Brassier and Meillassoux were once thinkers of the compulsion toward death-drive: the will to be at one with the in-itself. However, even when we are retroactively dead this journey cannot but occur in the time-slice of life. We index a current configuration of time experienced in a peculiar manner. Aware we are to cease, perhaps even desirous of it, we persist in a loop of reproduction: there are ever more eggs to be made. There are no gods, but there are libidinal forces stronger than any we might imagine. Let me be clear: the problem is life. It is a vector inhabiting inorganic matter. It is we who are the edge of the non-vital. Break every egg you see. Eat them too. They are the ones fortunate to have been spared. This is the energy and impulse that vitalism raises from the inert. Far better to revert to radio silence where at least the cosmos refuses to provide a message. Cut if you must. Conserve energy only to become ever emptier. It is only a neurobiological simulation. My body tells me otherwise, but it would. Prepare for transcendental extinction as if it were to occur tomorrow. Refuse the air. Let in the voices that speak across one another and do so at the same time. They are all vouching for a significance that, criss-crossing one another, attest to their mutual insignificance. The big brain says to the small brain: keep going. The oval in your head. Here my cards are all on the table. Is it just an extravagant ruse? Or is there nothing more than the electricity that types? Let us take a walk to the beach where, as it happens, turtles come to lay their eggs. Sound biological imperative washed ashore. And to us? What could this process possibly be other than a wave, a mirror, a spectacular terrorism that is evidence of the cosmic mistake? The same questions always arise when one meditates on contingency: who, precisely, am I talking to? An audience member perhaps, but you should know I do not even believe in myself and so, all things being equal, perhaps you should return the favor. Who does one who does not believe in a self write for? Perhaps the young since they do not yet know. Absent of the full awareness of the situation they remain at play. As the process of de-mystification sets in it is replaced by either delusions or distractions. My chosen axiomatic of ontological nihilism has no other balm than aesthetics. Specifically the aesthetics of pessimism. Shorn of my critical knives I am there too in the dirt: a libidinal embryo imbricated in the same sorry mesh as the rest. There is no bridge here that leads one to the light. I write so as not to drown in the river below. To this end, it is only left to live, as one must, amidst the qualitative leap from matter to life: to witness in the egg an occurrence, emerging as if from nowhere, and walk amongst what can be built from even the most ruinous state of being. Our world is a menacing intotality. Do not take its strangeness for granted. Not that those in art galleries often do. Tones, textures, and wine, but more importantly: tais-toi accelerationiste! Remind yourself: you are as dead as the eggs.

8 Fabian Marti, tais-toi accélérationiste!, 2015, exhibition view, Galleria Fonti Napoli

9 Fabian Marti, tais-toi accélérationiste!, 2015, exhibition view, Galleria Fonti Napoli

10 Fabian Marti, tais-toi accélérationiste!, 2015, exhibition view, Galleria Fonti Napoli

11 Fabian Marti, tais-toi accélérationiste!, 2015, exhibition view, Galleria Fonti Napoli

12 Fabian Marti, To be Titled, 2015, drawing on paper, cm. 20 x 30

13 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

14 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

15 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

16 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

17 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

18 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

19 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

20 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

21 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

22 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 143 x 207

23 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 100 x 150

24 Fabian Marti, To be Titled, 2015, photogram mounted on aluminium, epoxy, cm. 100 x 150

25 Fabian Marti, Some End of Things, 2013, Museum für Gegenwartskunst, Basel

26 And Then We Mad (solo exhibition, galleria Fonti Napoli, 2011) The title of the exhibition, And Then We Mad, is drawn from a passage of the book True Hallucinations by Terence McKenna, an autobiographical recounting where the author had the courage and the integrity to describe with fairly rigorous thoroughness a series of experiences he and his brother had in the Amazon jungles with psychedelic mushrooms: «And then we made love. Or rather we had an experience that vaguely related to making love but was a thing unto itself. We were both howling and singing in the glossolalia of DMT, rolling over the ground with everything awash in crawling, geometric hallucinations. She was transformed; words exist to describe what she became pure anima, Kali, Leucothea, something erotic but not human, something addressed to the species and not to the individual, glittering with the possibility of cannibalism, madness, space, and extinction. She seemed on the edge of devouring me». In this new project the art research by Fabian Marti focuses on altered states of consciousness as his works emerge out of the experience he had with mind altering drugs: the artist uses that condition as a key to understand where we humans come from, how culture emerged and how the use of language could have been born. The altered states can also help us to solve the problems we face in life since they have the characteristic to be ego - dissolving. Again a link to McKenna, to his Stoned Ape Theory in which he proposed that the transformation from humans' early ancestors Homo erectus to the species Homo sapiens mainly had to do with the addition of the mushroom Psilocybe cubensis in its diet. The five ceramic vases and the high relief of a deconstructed vase shown in the gallery could be looked at as doorways into other states of mind; as madness machines and at the same time the product of madness machines. Three big size photograms are placed in the first and second room of the gallery, together with other six small size photograms. These works are realized placing strings of tape and transparencies of digitally conceived designs directly onto the surface of a photo-sensitive material (silver-gelatin paper) and then exposing it to light, sometimes adding colored ink, merging analog and digital photo processes.

27 Fabian Marti, And Then We Mad, 2011, exhibition view, galleria Fonti, Napoli

28 Fabian Marti, And Then We Mad, 2011, fired clay, installation of twelve tiles, cm. 148 x 200 x 16

29 Fabian Marti, A Violet Psychofluid, 2011, photogram, cm. 145 x 180

30 Fabian Marti, Escaped from the all control in a power of the ego, 2011, photogram, cm. 108 x 138

31 Fabian Marti, Unrest of becoming I, 2011, photogram, cm. 108 x 138

32 Fabian Marti, To be titled, 2011, photogram, cm. 46 x 60

33 Fabian Marti, To be titled, 2011, photogram, cm. 46 x 60

34 Fabian Marti, To be titled, 2011, photogram, cm. 46 x 60

35 Fabian Marti, To be titled, 2011, photogram, cm. 46 x 60

36 Fabian Marti, To be titled, 2011, photogram, cm. 46 x 60

37 Fabian Marti, To be titled, 2011, photogram, cm. 46 x 60

38 Fabian Marti, And when we mad & vrntynhzln clgknnmnlyn wkohz, 2011, exhibition view, Kunstverein Braunschweig

39 Fabian Marti, The Summit of It, 2011, single channel video, 25 ceramics, MDF structure, dimension variable, exhibition view, Illuminations" 54 International Art Exhibition Biennale di Venezia, Venice, Italy

40 Fabian Marti, SLJLO RKNZYSL MZL TINMLO, 2009, glaze, fired clay, cm. 45 x 45 x 35

41 Fabian Marti, HRSHLIU ERKO YSMLSMYRSN, 2009, glaze, fired clay, cm. 50 x 25 x 25

42 Fabian Marti, MLM RMZLON MR WR MZL GROV FRO ERK CKM IUGIEN MIVL MZL HOLWYM, 2009, glaze, fired clay, cm. 43 x 28 x 28

43 Fabian Marti, TINMLO MZL IOM RF MYTYSM, 2009, glaze, fired clay, cm. 113 x 80 x 34

44 Fabian Marti, Die Spinne (to be titled under the influence) 2009, silver gelatin print (photogram) and paper tape, cm. 140x108

45 Fabian Marti, Schmelzpapst (to be titled under the influence), 2009, silver gelatin print (photogram) and paper tape, cm. 140 x 113

46 Fabian Marti, Fontana dei Fungi (to be titled under the influence), 2009, silver gelatin print (photogram) and paper tape, cm. 140 x 110

47 Fabian Marti, Europa! (to be titled under the influence), 2009, silver gelatin print (photogram) and paper tape, cm. 140 x 110

48 Fabian Marti, Futurismo o Muerte (to be titled under the influence), 2009, silver gelatin print (photogram) and paper tape, cm. 140 x 110

49 Fabian Marti, EGO I (to be titled under the influence), 2009, silver gelatin print (photogram) and paper tape, cm. 140 x 110

50 Fabian Marti, EGO II (to be titled under the influence), 2009, silver gelatin print (photogram) and paper tape, cm. 140 x 110

51 Fabian Marti, To be titled, 2009, silver gelatin print (photogram), cm. 60 x 46

52 Fabian Marti, To be titled, 2009, silver gelatin print (photogram), cm. 60 x 46

53 Fabian Marti, To be titled, 2009, silver gelatin print (photogram), cm. 60 x 46

54 Fabian Marti, To be titled, 2009, silver gelatin print (photogram), cm. 60 x 46

55 Fabian Marti, To be titled, 2009, silver gelatin print (photogram), cm. 60 x 46

56 Fabian Marti, To be titled, 2009, silver gelatin print (photogram), cm. 60 x 46

57 Fabian Marti, Cible H comme Héroïne (kaleidoscope), 2007, ink jet print on paper, ed. 1/3 + 1 AP, cm. 75 x 51

58 Fabian Marti, Complexe de Frankenstein (kaleidoscope), 2007, ink jet print on paper, ed. 1/3 + 1 AP, cm. 75 x 53

59 Fabian Marti, L'Amour en Face (kaleidoscope), 2007, ink jet print on paper, ed. 1/3 + 1 AP, cm. 71 x 100

60 Fabian Marti, La Nuit des Temps (kaleidoscope), 2007, ink jet print on paper, ed. 1/3 + 1 AP, cm. 76 x 52

61 Fabian Marti, Les Extraterrestres dans l'histoire (kaleidoscope), 2007, ink jet print on paper, ed. 2/3 + 1 AP, cm. 71 x 53

62 Fabian Marti, Les Renégats d'ixa (kaleidoscope), 2007, ink jet print on paper, cm x 51.5

63 Fabian Marti, Mal Pertuis,2007, ink jet print on paper, cm. 71 x 52.5

64 Fabian Marti, Mémoires trouvées dans une bagnoire (kaleidoscope),2007, ink jet print on paper, cm. 71 x 52

65 Fabian Marti, Alexandra, 2007, ink jet print on paper, cm. 147 x 117 cm

66 Fabian Marti, Barbara, 2007, ink jet print on paper, cm. 147 x 117 cm

67 Fabian Marti, Justina, 2007, ink jet print on paper, cm. 147 x 117 cm

68 Fabian Marti, Anna, 2007, ink jet print on paper, cm. 147 x 117 cm

69 Fabian Marti, Dominique, 2007, ink jet print on paper, cm. 147 x 117 cm

70 Fabian Marti, Elizabeth, 2007, ink jet print on paper, cm. 147 x 117 cm

71 Fabian Marti, Hannah, 2007, ink jet print on paper, cm. 147 x 117 cm

72 Fabian Marti, Julia, 2007, ink jet print on paper, cm. 147 x 117 cm

73 Fabian Marti, Lea, 2007, ink jet print on paper, cm. 147 x 117 cm

74 Fabian Marti, Monika, 2007, ink jet print on paper, cm. 147 x 117 cm

75 Fabian Marti, The Fly, 2007, ink jet print on paper, cm. 155 x 115

76 Fabian Marti, A life that lasts eternally, 2007, ink jet print on paper, cm. 180 x 147

77 Fabian Marti, I wonder how life will be, 2007, ink jet print on paper, cm. 180 x 147

78 Fabian Marti, To be titled, 2007, fired clay, dimension variable

79 Fabian Marti, Orakel I, 2007, 7 artefacts, fired clay

80 Fabian Marti, Ha, Ah History, 2006, ink jet print on paper, cm. 71 x 53

81 Fabian Marti, Sono legione, 2007, exhibition view

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