Diego Randazzo - Anna, agosto ’84
05
days
21
hours
39
minutes
17
seconds
Current bid
€ 22
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Selected by Maurizio Buquicchio
Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
Gallery Estimate € 800 - € 1,000
 | €22 | |
|---|---|---|
| €12 |
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Diego Randazzo’s original contemporary oil painting Anna, agosto ’84, 20×30 cm (4 cm depth) on MDF with Alcantara frame, signed and in excellent condition, dated 2025 and 2026 with the work produced for sale directly from the artist.
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Description from the seller
Anna, August ’84
Oil, acrylic and pumice stone on MDF, Alcantara fabric as frame
20x30x4 cm
2025
The image of the buttocks draws inspiration from the painting ‘Étude de fesses’ by Felix Vallotton. The subject is reinterpreted and inserted into a hypothetical instant photo. Thus, from a purely artistic instance, the original subject assumes the contours of a document. A document that intertwines invented things and personal memories.
The date shown on the snapshot refers to the year of birth of the writer, but as a game of fits and coincidences I discovered afterward that Vallotton’s original reference is dated 1884. A chronological correspondence that merges with the scattered and invented memory of sweet Anna and her buttocks.
IG: https://www.instagram.com/diego__randazzo/
web site: www.diegorandazzo.com
bio artista:
Diego Randazzo (Milano 1984) lives between Milan and Belluno. He completed his diplomas at the Brera Art High School and earned a degree in Cultural Heritage Sciences with a thesis in ‘Istituzioni di regia’ at the Università degli Studi di Milano. His work, articulated across several media, focuses on some of the main themes of visual culture: the experience of the image, with all its emotional, evocative, anthropological and social components; the devices of looking, which often become object/subject of the work itself; the archaeology of media, understood as an inquiry into the technological origins of the modern and contemporary gaze, the gaze of the machine, updated with the latest innovations (from algorithms to operative images); the dimension of storytelling; immersion or, on the contrary, the estrangement produced by the relationship with the medium. His works appear in public and private collections. Finalist in various contemporary art prizes (The Gifer Festival, Premio Cramum, Arte Laguna, Combat Prize, Premio Ora, Arteam Cup) in 2023 he won the first prize of the Yicca Art Prize and received the Jury Mention at the Talent Prize of Insideart Magazine. In 2024 his installation #KIDS, tribute to the Gorla Little Martyrs tragedy and a permanent work at Casa della Memoria in Milan, was included in the public art mapping project carried out by Mudec of Milan. He began working on the issues of algorithms as early as 2020 with the project ‘Immagini Simili’ – at the ADD-art Gallery, curated by Bianca Trevisan – and continues to date, through the study of AI as a tool for visual research and social inquiry.
Seller's Story
Always curious and passionate about images and moving pictures, my approach over the years has sharpened into an undefinable vision, because it is precisely positioning at the borders of categories (disciplines/languages) that quality by which one stands out. But in a world made of nomenclatures, classifications and genres I can try to define my interests in the following threads:
– The languages (cinema, painting, photography) and their subversion, often denouncing their elusiveness, their corruptibility, their transversality. I always place myself within a theoretical and technical reflection on their status.
– Fiction, the false, the enigma, the subliminal and the unspoken in a refined search for non-linear storytelling, made of details and synecdoche.
– Comparison and affinities between Images of different natures (cinematic, painting and photographic) often juxtaposed to form groups and multitude.
– Excavation in memory, understood both as collective memory (told through testimonies as in the work #KIDS at Casa della Memoria in Milan) and as an archive of intimate and personal memories.
– Play: understood as play between languages, between image and word (the use of phrases and quotes created with AI) and between juxtaposed images that hint at an ironic and playful interweaving.
– Technology and the entire technological apparatus always linked to an analogic development and conception.
– Time: realized through a deep reflection on the moving image, in the idea of sequence and concatenations of events and disparate subjects.
Diego Randazzo
Translated by Google TranslateAnna, August ’84
Oil, acrylic and pumice stone on MDF, Alcantara fabric as frame
20x30x4 cm
2025
The image of the buttocks draws inspiration from the painting ‘Étude de fesses’ by Felix Vallotton. The subject is reinterpreted and inserted into a hypothetical instant photo. Thus, from a purely artistic instance, the original subject assumes the contours of a document. A document that intertwines invented things and personal memories.
The date shown on the snapshot refers to the year of birth of the writer, but as a game of fits and coincidences I discovered afterward that Vallotton’s original reference is dated 1884. A chronological correspondence that merges with the scattered and invented memory of sweet Anna and her buttocks.
IG: https://www.instagram.com/diego__randazzo/
web site: www.diegorandazzo.com
bio artista:
Diego Randazzo (Milano 1984) lives between Milan and Belluno. He completed his diplomas at the Brera Art High School and earned a degree in Cultural Heritage Sciences with a thesis in ‘Istituzioni di regia’ at the Università degli Studi di Milano. His work, articulated across several media, focuses on some of the main themes of visual culture: the experience of the image, with all its emotional, evocative, anthropological and social components; the devices of looking, which often become object/subject of the work itself; the archaeology of media, understood as an inquiry into the technological origins of the modern and contemporary gaze, the gaze of the machine, updated with the latest innovations (from algorithms to operative images); the dimension of storytelling; immersion or, on the contrary, the estrangement produced by the relationship with the medium. His works appear in public and private collections. Finalist in various contemporary art prizes (The Gifer Festival, Premio Cramum, Arte Laguna, Combat Prize, Premio Ora, Arteam Cup) in 2023 he won the first prize of the Yicca Art Prize and received the Jury Mention at the Talent Prize of Insideart Magazine. In 2024 his installation #KIDS, tribute to the Gorla Little Martyrs tragedy and a permanent work at Casa della Memoria in Milan, was included in the public art mapping project carried out by Mudec of Milan. He began working on the issues of algorithms as early as 2020 with the project ‘Immagini Simili’ – at the ADD-art Gallery, curated by Bianca Trevisan – and continues to date, through the study of AI as a tool for visual research and social inquiry.
Seller's Story
Always curious and passionate about images and moving pictures, my approach over the years has sharpened into an undefinable vision, because it is precisely positioning at the borders of categories (disciplines/languages) that quality by which one stands out. But in a world made of nomenclatures, classifications and genres I can try to define my interests in the following threads:
– The languages (cinema, painting, photography) and their subversion, often denouncing their elusiveness, their corruptibility, their transversality. I always place myself within a theoretical and technical reflection on their status.
– Fiction, the false, the enigma, the subliminal and the unspoken in a refined search for non-linear storytelling, made of details and synecdoche.
– Comparison and affinities between Images of different natures (cinematic, painting and photographic) often juxtaposed to form groups and multitude.
– Excavation in memory, understood both as collective memory (told through testimonies as in the work #KIDS at Casa della Memoria in Milan) and as an archive of intimate and personal memories.
– Play: understood as play between languages, between image and word (the use of phrases and quotes created with AI) and between juxtaposed images that hint at an ironic and playful interweaving.
– Technology and the entire technological apparatus always linked to an analogic development and conception.
– Time: realized through a deep reflection on the moving image, in the idea of sequence and concatenations of events and disparate subjects.
Diego Randazzo
Translated by Google TranslateDetails
Artist
Diego Randazzo
Sold with frame
No
Sold by
Direct from the artist
Edition
Original
Title of artwork
Anna, agosto ’84
Technique
Oil painting
Signature
Signed
Country of origin
Italy
Year
2026
Condition
Excellent condition
Colour
Bronze, Cream, Pink, Red
Height
30 cm
Width
20 cm
Depiction/theme
Nude
Style
Contemporary
Period
2020+
Sold by
