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Tommaso Garavini

Giorgio Mazzone
André Philippe Solari Carla Rak

Born in Rome in 1972, he spent most of his childhood travelling around the world with his family. He studied Set Design at the “Academy of Fine Arts of Rome”, painting at “Burg Gibiechenstein” (“Hockschule fur Kunst und Design” - Halle Saale, Germany) and worked as a set designer in movies and theatre for 10 years. He is a painter, illustrator, sculptor, writer and musician.Up to now he has done more than 10 solo exhibitions and 20 collective exhibitions all over Europe. He published his drawings on many international magazines.

www.tommasogaravini.com

Born in 1974 in Rome, left Rome to explore the world in '94, comes back to Rome in 2001. He graduated in in Printmaking and photography at “University of the Arts in Philadelphia”. Nowdays he works as a furniture maker and teaches bookbinding in a design academy in Rome.

 

 

 

 

 

Born in France in 1975, he moved to Rome when still a child and spent his time between skateboarding and snowboarding. Since graduation in industrial design at I.S.I.A. in Rome he has worked as graphic designer, 3d modeller and motion graphics expert in various architecture studios based in Rome.

She has completed a PhD in Science of Communication at the University of Rome "La Sapienza". Along with her studies, she has gained an extensive professional experience in the field of author photography, working for one of the most important Italian photojournalism agencies, where she was responsible for the editing, production and supervision of editorial projects. To this she combines her passion for design, taking care of Rota-lab's press office and communication.

 

MANIFESTO - ANTI MANIFESTO

 

 

THE BIRTH OF "ARTIGIANERISM" (Artisan/designer) 

Towards the end of the XXth century, when consumerism had reached its peak, and a group of designers was busy satisfying industry's frenetic production goals, consumers were ready for the unconditional acceptance of undesigned products. Intrepid, unscrupulous specialists  were hired in a frantic search for short lived materials: heat-soluble finishes, weak  gears, breakable shock absorbers. World markets unanimously dictated the perpetuation of the still unwritten law:  DISPOSE BEFORE USE. So-called "built-in obsolescence" was to be replaced by  "built to be disposed of EVEN BEFORE USE.

On the other hand a trusting and defenseless public could not resist the fascination of the bubble wrapping of goods that silently disguised downgraded standards.

As a result, in those very years a new phenomenon arose: household objects, war survivors that had been saved, handed down and repaired over the years ended up in local dumps, to be replaced by new "impostors". 

It was thanks to this disposal of old objects and a general tendency to replace what seemed outmoded, that in the early XXIst century a handful of young artisans and artists sensed the intrinsic value of those discarded objects as far superior to those that replaced them in terms of the noble materials and skills employed in their making.

Chance had it that these young minds, for varying reasons, found themselves connected to an underground association, best left unnamed, that promoted a style of life and initiatives that valued these attitudes towards outmoded rejects.

The fertile atmosphere of the association gave birth to diverse collaborations and the spontaneous institution of an intellectual circle that did justice to those objects rejected by the modern world.

The first commercial production of objects using only durable materials  that would improve aesthetically over time while maintaining their functionality began around 2005. Practicality and utility were often associated with clean forms, in accord with a humble love for bare materials.

It appears that the term Artigiainer was first used in 2007 by a then young member of the underground association, fed up of hearing the long and improbable explanations of his unusual trade by friends and colleagues and unsatisfied by superficial perceptions. She introduced the term and convinced everyone to use it, to willfully discriminate against that undeserving portion of modern society unable the catch the meaning and content of her work.

Flavia Di Nardo

 

THE MAN OF RUST

In the beginning was the foot. Then man learned to tame fire, to work wood, stone, bronze, to paint caves and finally to work iron. Four million years later, man has forgotten these lessons. He is no longer able to ignite a fire, has lost in the use of hands and feet. He is surrounded with machines whose function he no longer understands, and to whom he entrusts his very survival. But in the folds of cities, in places abandoned by history, a new reality is born, a revitalized man who reacquires his manual ability, a man who becomes prehistoric anew.

Fires crackle again, materials gain back value and form, are collected and worked, the instinctive use of hands and feet flourishes again. It is the Man of Rust.

The man of rust is an urban being by definition, because it is in the city that he found the forest of ancestral memory.

The man of rust observes and reacts, cultivates idea and ideation.

The man of rust lives by his own means and his own work.

The man of rust is a nomad and a stranger wherever he goes.

The man of rust is a son of his time, and in his time wants to leave a sign of his passage.

The man of rust is also the woman of rust.

The man of rust accepts ideas even diametrically opposed to his own.

The man of rust does not know what he wants but knows what he does not want.

The man of rust never arrives because he believes in incessant searching.

The man of rust is the new man of the third millennium, but also of the fourth and fifth.

His activities are many and varied.

Activities of the man of rust:

1 - Art

2 - Play

3 - Euphoric Parties

4 - Expeditions to abandoned places

Characteristics of Rustman:

He is an honest person.

He cultivates instinct.

He refuses to specialize.

He is a lucid enthusiast.

He does not imitate anyone, at most he steals.

He looks for contradictions and works on them.

He uses irony.

He is diffident towards the "art-triangle" Gallery-Critic-Collector.

He is creator not a creative.

He believes in action and in the effimeral.

This is not intended to be a manifesto, but rather an anti-manifesto. Rustman is not a group nor an artistic movement, but more a style of life. Anyone can call himself a man of rust, declare himself creator of the anti-movement, write "the" theory of Rustman. Anyone can claim to have been the first to have the idea of rust and to have invented the name. And when the rustman dies, whatever anyone wants can be done to him, like the Etruscan tombs.

Text found in Rome on Grotte Celoni bus #105 in 2005

Finder: Esteban