Diego Randazzo - Montagne macchinose
04
days
22
hours
39
minutes
38
seconds
Current bid
€ 25
Reserve price not met
Expert
Selected by Egidio Emiliano Bianco
Holds a bachelor’s degree in art history and a master’s degree in arts and cultural management.
Gallery Estimate € 800 - € 1,000
 | €25 | |
|---|---|---|
| €20 | |
| €6 |
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Montagne macchinose, an oil painting on an MDF panel prepared with a pumice stone layer, with a pink, blue and multicoloured palette, a contemporary landscape signed by Diego Randazzo, 36×33×4 cm, Italy, 2026, Originale edition.
AI-assisted summary
Description from the seller
Machinelike Mountains
Oil painting on an MDF panel prepared with a layer of pumice stone,
Alcantara fabric frame
36×33×4 cm
2025
----------------------------
Ig: https://www.instagram.com/diego__randazzo/
web site: www.diegorandazzo.com
The act of sticking. Sticking a layer, in this case an image, over another layer of image, undoubtedly denotes a quintessentially superficial approach. But if we want to look deeper, sticking is a symbolic gesture representing many aspects, various stances of contemporaneity.
In a society of appearances, of fiction and images, everything is a bit stuck. Therefore still artificial, mounted, post hoc. I refer you to the definition of posticcio: ‘Artfully applied to replace something natural that is missing’. In this series, a reflection on the broad concept of reality erupts. A reality that shows itself and unravels in its immediacy, but almost always mediated. Isn’t this perhaps evidence that, no matter how hard we strive to grasp the truth in things, everything is reduced to image and appearance.
artist bio:
Diego Randazzo (Milan, 1984) lives between Milan and Belluno. He completed his maturità at Brera Art High School and graduated in Cultural Heritage Sciences with a thesis on ‘Istituzioni di regia’ at the University of Milan. 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; the archaeology of media, understood as an investigation into the technological origins of the modern and contemporary gaze, the gaze of the machine, updated with the latest innovations (from algorithms to operational images); the dimension of storytelling; immersion or – conversely – the estrangement produced by the relationship with the medium. His works are present 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 a Mention from the Jury at Insideart Magazine’s Talent Prize. In 2024 his installation #KIDS, tribute to the tragedy of Gorla's Little Martyrs and permanent work of Casa della Memoria in Milan, is included in the Public Art Mapping project carried out by Mudec in Milan. He began working on algorithmic issues as early as 2020 with the project ‘Immagini Simili’ – at ADD-art Gallery, curated by Bianca Trevisan – continuing to today, 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 TranslateMachinelike Mountains
Oil painting on an MDF panel prepared with a layer of pumice stone,
Alcantara fabric frame
36×33×4 cm
2025
----------------------------
Ig: https://www.instagram.com/diego__randazzo/
web site: www.diegorandazzo.com
The act of sticking. Sticking a layer, in this case an image, over another layer of image, undoubtedly denotes a quintessentially superficial approach. But if we want to look deeper, sticking is a symbolic gesture representing many aspects, various stances of contemporaneity.
In a society of appearances, of fiction and images, everything is a bit stuck. Therefore still artificial, mounted, post hoc. I refer you to the definition of posticcio: ‘Artfully applied to replace something natural that is missing’. In this series, a reflection on the broad concept of reality erupts. A reality that shows itself and unravels in its immediacy, but almost always mediated. Isn’t this perhaps evidence that, no matter how hard we strive to grasp the truth in things, everything is reduced to image and appearance.
artist bio:
Diego Randazzo (Milan, 1984) lives between Milan and Belluno. He completed his maturità at Brera Art High School and graduated in Cultural Heritage Sciences with a thesis on ‘Istituzioni di regia’ at the University of Milan. 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; the archaeology of media, understood as an investigation into the technological origins of the modern and contemporary gaze, the gaze of the machine, updated with the latest innovations (from algorithms to operational images); the dimension of storytelling; immersion or – conversely – the estrangement produced by the relationship with the medium. His works are present 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 a Mention from the Jury at Insideart Magazine’s Talent Prize. In 2024 his installation #KIDS, tribute to the tragedy of Gorla's Little Martyrs and permanent work of Casa della Memoria in Milan, is included in the Public Art Mapping project carried out by Mudec in Milan. He began working on algorithmic issues as early as 2020 with the project ‘Immagini Simili’ – at ADD-art Gallery, curated by Bianca Trevisan – continuing to today, 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
Montagne macchinose
Technique
Oil painting
Signature
Signed
Country of origin
Italy
Year
2026
Condition
Excellent condition
Colour
Blue, Grey, Multicolour, Pink, Red, Turquoise
Height
33 cm
Width
36 cm
Depiction/theme
Landscape
Style
Contemporary
Period
2020+
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