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DANIELE NICOLOSI



What is your current publishing activity based on and where does it come from?


It’s a syncretic operation based on publishing, and it can be considered a constant in my practice, a sum of things in a cyclical becoming.


il fu BROS, 2022, Silvana Editoriale, NONARCHIVIOBROS.COM, 2022, in collaborazione con Officine Tesla. Ph. Tiziano Ercoli. Courtesy l'artista.


What is your latest work about and why did you write it?


It’s about nothing and I didn’t write a word. I edited the entire project to emphasize the constant shifts in my work.


il fu BROS, 2022, Silvana Editoriale, NONARCHIVIOBROS.COM, 2022, in collaborazione con Officine Tesla. Ph. Tiziano Ercoli. Courtesy l'artista.

What are your artistic projects relating to writing?


Language is fundamental in the work. This is also evident in Semenza, an insert in the middle of the book, which encourages a radical cognitive experience, leading the reader to perform elementary actions on the book object. The images of the work “Untitled (Cover)”, 2014 merge in print with an assumption from Giordano Bruno's “II Dialogo di De la causa, principio et uno” (1584).


Semenza (web), 2023. Immagine virtale da Untitled(Cover), 2014, assunto dal II dialogo di De la causa, principio et uno, 1584, di Giordano Bruno. Courtesy l'artista.

What does writing mean to you and why did you choose it as your form of expression?


Contemporary art is often ungenerous in its dialogue with the community. I’ve chosen to give a prominent place to the narrative, which through words becomes more horizontal, more inclusive, and more real. To give you an example, I asked Leonardo Bentini to be influenced, like an unconscious spectator, by 21 images in the book and to share his experience with me in writing. The result was implemented in the content acquisition process thanks to an additional reading level. Through the camera of your device, by framing the images, you are transported to a series of oracles present in the virtual dimension of the NONARCHIVIOBROS.COM publishing project; and then seamlessly continue into the maze of hypertext contents of the portal.


il fu BROS, 2022, Silvana Editoriale, NONARCHIVIOBROS.COM, 2022, in collaborazione con Officine Tesla. Ph. Tiziano Ercoli. Courtesy l'artista

Which writers do you like and why?


Marco Meneguzzo, Ida Terracciano, Giacinto Di Pietrantonio, Alessandra Donati, Leonardo Bentini and Nicolas Ballario. They are also the authors of the editorial texts, who have achieved excellent results in terms of specificity and style.


il fu BROS, 2022, Silvana Editoriale, NONARCHIVIOBROS.COM, 2022, in collaborazione con Officine Tesla. Ph. Tiziano Ercoli. Courtesy l'artista.

Is the realization of a text that brings together what was of BROS more of an exigency or a necessity?


BROS was a pretext, it can be seen as a forerunner of the metaverse, where the space of action was the relationships in the city, arising from a legacy: from the gift to the Molotov.

“Il fu BROS” is a journey back to places (and community) already encountered, with a different awareness, carried out in equal relationship with the common identity, a true “superman” attitude in this era.



il fu BROS, 2022, Silvana Editoriale, NONARCHIVIOBROS.COM, 2022, in collaborazione con Officine Tesla. Ph. Tiziano Ercoli. Courtesy l'artista.

Let us dwell on this last concept: “a journey back to places (and community) already encountered, with a different awareness, carried out in equal relationship with the common identity, a true “superman” attitude in this era.” In particular - according to your sentiment – I’d like to say a few more words on the relationship between common identity and artist; between art and superman and this in our “everyday” societies (and the dimension of the recovery of the sense of this and the actual 'spheres' - if any - for such recovery).


As an artist, even in the aforementioned publishing project, my activity is about balancing equitably the factors that constitute the work in its complexity, the author and his work as generators of value in relation to the community and vice versa.

In the 20th century, the artist played the role of ascetic, a space of action and an antinomian role compared to society; today he must bridge this gap by assuming a position equal to reality, firstly for himself. His ability must not be measured with abstruse or mediated instruments, but with the same criterion of emotions.



by RA / RC

for Dare Clan








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