From Body Art to Hyperexpressionism

Looking back at the last century, body art has marked a moment of deep break with previous forms of expression. Body art succeeded in the attempt of being the language itself, not just the mean to convey the message. The body has come out of the painting and has turned into the vehicle to transmit the signs of expression. Even today, in the second decade of the third millennium, despite numerous attempts to mask and dematerialize the body, it remains our main mean of expression.

Marina Abramovich - Balkan Baroque (1997) - Bienal de Venecia
Marina Abramovich – Balkan Baroque (1997) – Bienal de Venecia
Iacopo Maria Fiorani
Iacopo Maria Fiorani

The body is increasingly hidden, anesthetized, virtualized, overwhelmed by an immense multitude of signs and messages scattered throughout digital devices retransmitting the always mutable flows of the Internet. It no longer makes sense to work directly on a body that is disappearing.

One of the challenges of contemporaneity is the recovery of the support, as a tangible sign of memory and time, as everything is quickly progressing towards the dissolution of matter

The expressive aspect remains central to the condition of contemporary man. In an attempt to paraphrase Cartesian: I express myself, so I am. Hyperpressionism is nothing more than a new perceptive approach to expression through the body. The hyperexpressionists claim the need to leave a mark on the traditional artistic support, the canvas, the metaphor of the lost physical daily life.

Digital culture compresses and dematerialises the products of expression, the painting on the canvas is back to be an essential testimony of the history of humanity. One of the challenges of contemporaneity is the recovery of the support, as a tangible sign of memory and time, as everything is quickly progressing towards the dissolution of matter. Hyperexpressionists are standing firmly and resisting to vanish into virtual worlds and software, which constitute the extinction of physical reality.

Bruce Nauman - Art Make-Up (1968)
Bruce Nauman – Art Make-Up (1968)
Iacopo Maria Fiorani - Switching
Iacopo Maria Fiorani – Switching

From vinyl to Spotify, the sound no longer leaves analog tracks on the support. From book to Kindle, the paper and the soft noise of the flipped page are disappearing. Art will no longer occupy a physical space, the life of every human being will be contained into usb sticks, the whole memory of the world compressed into a file. To this volatile and evanescent perspective, hyperexpressionist artists react by bringing the body at the center of the artistic question. The body leaves its fingerprints, persecutes us with its presence. With Hyperexpressionism, the body has come back into the painting, it has become a framework, or rather the painting has become a prosthesis of the artist’s body.

Vito Acconci - Kiss-off , 1971
Vito Acconci – Kiss-off , 1971
Fosco Sileoni
Fosco Sileoni

More than a group and beyond style and taste, Hyperexpressionism seems an open tendency to interrogate deep and lacerating contradictions of a contemporary world that hyper-expresses but leaves no trace.


The art of Fosco Sileoni was born in the cave of eternal prehistory, coming from the depths of the earth like the great earthquakes in 2016 that destroyed his house and laboratory; every gesture in his paintings is a telluric movement, the body of the artist lives in a daily and painful vital epicenter that destabilizes the faults of contemporaneity.

Artworks created by Iacopo Fiorani resemble wounded bodies on an operating theatre. The pain has become anxiety, life, existence. The artist wants to reconcile the irreconcilable: the instinct, always original, bestial and indomitable, with the form, necessarily defined. From this attempt to dominate Chaos the process develops towards the completion of the creation.

Gina Pane - Triptyque de Psyché, 1974
Gina Pane – Triptyque de Psyché, 1974
Fosco Sileoni
Fosco Sileoni

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