2004-2040

36 WORKS FOR 36 YEARS

WORK 19: Accounts

For each accomplished month production of the 18 Inputs of the project, Frigo writes a short account providing some contextual information about the particular context around such production. These accounts are both self-analysis anf also summaries for viewers to better interpret the eighteen records of the project. Each account is labeled with a two digit number representing the part of the project going from 01 to 18, an underscore and a three digit number representing the month production going from 001 to 432. The accounts are presented chronologically both for each particular input of the project as well as in combinations with one another, thus revealing Frigo's working flow.

Accounts of each month production up to June 2018 (265 pages)

 

Following is an extract of Frigo's chronological account of each of his month productions: "...04_042: "in stockholm mostly breathing the air of the truck factory with the wind blowing towards my apartment having the windows open still because of the heat and also the busses driving in the road below and generally all the traffic found going by bike but mostly being in the city center or traveling to myrthe in the netherlands and breathing the airplane fuel prior taking off to get much nicer air in maastricht and during our bike rides in belgium"; 15_042: "a very emotionally stable period spent mostly in sweden and really helped by the late summer sunny weather and by allot of biking alone but also in the weekend reaching very high feelings of well being particularly during a bike ride with myrthe in belgium and another with august and εsmund all of them promoted by the easiness of the late summer with little frustration mostly due to technical difficulties like setting up my own server"" In this respect, this record of descriptions also reveals the chronological production of the various month productions Frigo accomplishes. As a matter of fact, while the only time indicator is provided by the photographing of the objects (work 01), which is linked to actual months, the productions of all the other parts of the project are based on an initial estimate of how much Frigo would be able to accomplish in a month using a particular medium and perspective. The 100 dreams that have been estimated to be remembered every month, for example, might take a longer or shorter time to be remember based on the social and psychological factors experienced by Frigo. It is these factors that these small accounts try to highlight.

WORK 20: Reflections

On an daily basis Frigo annotates reflections he has while conducting the different works of his project. To begin with, each reflection is written on his smartphone as soon as it arises, and it is labeled with an adjective describing it. These adjectives often repeat each other and can well visualize what Frigo thinks of his project turning this work in the field work of an auto-ethnographer.

Dictionary of reflections on the project until 2014"
Cloud bringing forward the adjectives most used by Frigo to reflect on his project

 

When writing these reflections Frigo refers to himself as "the documenting subject". As an example, under the adjective COMPASSIONATE he writes: "In his living the world like a pilgrim rather than o tourist, the documenting subject develops a full compassion for all humanity and their landscapes identifying the evil in only those who hinder this process of migration for the sake of power control."

WORK 21: Essays

Whenever events in his life makes urges him, Frigo spontaneously writes a short essay. An essay tends to discuss current issues and reflects the alienation experienced by Frigo as an immigrant without belonging. From harsh and offensive tones the essays slowly took through the years a more mellow tone advocating a more stoic and spiritual humanity. Frigo's essays are mostly written in English but there are also some written in Italian.

Essays written by Frigo in 2017

 

WORK 22: Illustrations

As part of this work Frigo illustrates the life of his ancestors prior the beginning of his project. The result is an epic executed scatteringly in the evening. The epic is partitioned in a total of 6 seasons with 3 episodes per season and 24 scenes per episode. The epic covers 4506 years of history. As Frigo is provided with more information of the more recent history, the latest period only covers 24 years, and earlier periods cover respectively 48, 96, 192, 384 and 768 years between each of the three dates intervals they represent.

Season 3 episode 1 of Frigo's origins
Frigo's native highland as seen from an airplane
Frigo's mother family villa after moving from the highland
Santa Rita do Pasa Quatro, Frigo's greatgrandparents town in Brazil
Frigo's greatgrandfather's tomb in Gisborne, Australia burried after WWII internment
Frigo's grandfather and relatives sent to Russia in WWII
Frigo's grandfather 18mm recordings showing Frigo's parents, his twin sister and close relatives (13.7MB)

 

Epic partition:

Episode 1 Episode 2 Episode 3
Season 1 2532 B.C.–1764 B.C. 1764 B.C.– 996 B.C.  996 B.C.– 228 B.C.
Season 2  228 B.C.– 156 A.D.  156 A.D.- 540 A.D.  540 A.D.– 924 A.D.
Season 3  924 A.D.–1116 A.D. 1116 A.D.–1308 A.D. 1308 A.D.-1500 A.D.
Season 4 1500 A.D.–1596 A.D. 1596 A.D.–1692 A.D. 1692 A.D.–1788 A.D.
Season 5 1788 A.D.–1836 A.D. 1836 A.D.–1884 A.D. 1884 A.D.–1932 A.D.
Season 6 1932 A.D.–1956 A.D. 1956 A.D.–1980 A.D. 1980 A.D.–2004 A.D.

For each of the 18 resulting episodes, 24 illustrations are executed on an A4 170 g / m², acid free paper. A smaller panel is used to draw margins of 27 x 18 centimeters. To begin with, Frigo draws by hand the diagonals going from each upper corner to the opposite bottom corner. In this respect Frigo has a center and can align to these diagonals either characters or a landscape. Every drawing usually alternates a distant view from a close up view in which the entire character or characters are shown. The character are first draw by pencil and then retraced with 0.1 millimeter drawing pen. Later each drawing is colored using watercolour pencils and lastly a brush. At this point Frigo uses a scissor to cut out the contour.

Frigo was born in the Italian alps among the Cimbri, a Bavarian minority group. His mother's side of the family were landowners in Santa Rita do Passa Quatro in Brazil, but lost their properties while in Europe during World War I. During World War II Frigo's paternal grandfather was part of Operation Barbarossa in Russia and was one of the few survivors along with his cousin, the Italian neo-realist writer Mario Rigoni Stern. In 1943 Frigo's grandfather was interned in Buchenwald concentration camp in Germany while his great grandfather died in Tatura concentration camp in Australia.

From the age of two Frigo and his family lived in Montreal where his father became an alcoholic. Following his abuses, Frigo followed his mother back to Italy where she remarried to a surgeon. During this period, at age 16 Frigo began to draw and to write, and went on a year-long exchange in Fort Atkinson, Wisconsin. Back in Italy Frigo enrolled in the University of Architecture in Venice. Later he studied at Emily Carr University of Art and Design in Vancouver, where at the age of 20 he undertook a 9,000 mile road trip. After months of travel he reached Malpais, Costa Rica wearing a poncho filled with his journals. It was in trying to revise these journals that Frigo conceived the need for a digital system to document his dreams, thoughts and ideas without the need for post-editing. Since his American experience Frigo began moving from one media institution to another in order to develop his digital system. Living in an abandoned school in the Netherlands, he finally reached Sweden. On trying to get technical help at Chalmers University he grew frustrated with technology and began documenting his activities manually using an off-the-shelf camera.

The work resembles that of Naοve artists such as Henri Rousseau and can be seen as the storyboard of a film. It expresses the violent unsettledness experienced by Frigo's ancestors, a minority group who has taken shelter in the alps but were often the victims of wars. It also reflects the unsettledness experienced by Frigo in real life, having to move from one place to another avoiding social tensions and rising discrimination. While the last part of the drawings correspond to a history Frigo has inherited by his relatives, the older illustrations are part of his imagination linked to his experience of the world and his readings.

WORK 23: Virtual reality

Since the beginning of the project Frigo has designed a 54,75 by 46,80 meters museum to be able to host by 2040 all of his works. The building is accessible through a 432 steps staircase, 432 being the total amount of months in 36 years. The front of the museum is characterized by a 36 meters high tower on which a clock reproduces Frigo's heart beats (work 06). The cupola of the tower is perforated based on Frigo's daily emotions (work 15). Over the door, an engraving presents the visitors with the 18 rules utilized to generate the content of the building they are about to enter. Upon entering he or she is to hear a sound of a fan hanging from below the cupola. This fan operates according to the different wind intensities experienced daily by Frigo (work 18). They are also to hear just above the door an organ playing samples of the songs he has heard and recognized throughout the duration of my project (work 03).

Outside view of the virtual museum
Screenshot inside virtual museum
Virtual rendering of the museum in the context of the alpine pasture (75 MB)

 

A series of concentric hexagonal square invites the visitor to descend to three large squares containing audio-guides in which the thoughts he had every month walking alone have been recorded (work 12). At this point the visitor can listen to one of them by simply walking around the hexagons or keep exploring the museum while bringing it along as a museum guide. A long central corridor extends the perspective view of all the videos Frigo took of the public spaces where he sat (work 10). The corridor extends the view since the center of these videos displayed by a large monitor at the end of it, is the vanishing point of these public spaces. The actual corridor comprises ceramic tiles where the collages of the trash Frigo picked from sidewalks around the world have been printed (work 08). The visitor can kneel down to better observe them or simply contemplate high up the projection of virtual shapes Frigo created detecting shapes from the clouds he observed (work 17).

At the very end of the building is the square wall hosting like a calender all the month panels in which the photos of the objects Frigo have used with his right hand since 2004 are displayed (work 01). The wall can be consulted by the visitor as some kind of a record of a human activities throughout the core of a lifetime. Below it and above the monitor displaying the videos of public spaces, the visitor to the museum can also read a book of all Frigo's dreams, about 100 every month (work 02). From this position, the visitor can observe a mist filling the interior of the museum. This mist corresponds to the air quality Frigo has recorded every day (work 05). Above it an RGB laser displays as a light tower the weather conditions he has recorded every day by mapping it to a scale of colors (work 16).

Only now the visitors can go back and explore the corridors surrounding the main space. From the outside of these corridors there are curtains embroiled with the paintings Frigo have executed every month (work 13). Below them there are LED screens displaying the fables he improvised at night time (work 05) and across them high columns with portraits of new acquaintances (work 07). Inside the corridors, attached to the walls, there are small screens displaying the Frigo's drawings of ideas (work 11). Opposite to them, as some sort of hand rails in the dark, there are Braille embossed plaques of all the casualties Frigo read on the news (work 09). Walking through the corridor to the end of the building, the visitor can now look through several glasses, a reproduction of the trajectories of the walks Frigo took every months (work 14), superimposed on the surrounding landscape on which the museum is ideally located.

Having visited several of these corridors and having walked up several stairs visitors can visit the two smaller buildings on each side, in which the various elaborations of the project (work 19 to 36) is show in 6 7,2 by 7,2 rooms. As each of these rooms have an individual door, the remaining three walls are dedicated each to one project (e.g. entering the first room a visitor has work 19 on his left, work 20 ahead and work 21 to the right). This work has been this far created using a CAD program and a video-game engine. The building has been inspired by medieval Art of memory and Combinatorial Art practices. Rather however to be a memory building created to facilitate memory it is a building to allow the regeneration of life through the visitors active interpretation of the various media languages of time displayed. In this sens Frigo thinks that the function of this building, this tebah as he calls it is to create unity and syncretism of a reality otherwise dangerously polarized by mass media.

WORK 24: Pictures

When outdoor Frigo takes photos of details that particularly provokes him. In order to do so he uses a compact camera to zoom into the detail and photographs using a 16:9 format. These details can be architectural or concerning humans or animals or natural phenomena at large. The pictures thus range from a homeless begging for food outside a metro station or a bird seating on the roof of an abandoned villa. Every year Frigo takes up to 1.500 photos which are later compiled in a video where each photo is shown every one second. The classic music Frigo selects to accompany the resulting annual videos are meant to create empathy towards an otherwise frigid reality.

One year of photographing while living in Sweden in 2014 (22 MB)

>>WORK 25 to 30>>