SABA PRODAKTION

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SABAPRODAKTION starts to exist as a visual production project with a B/W comics zine called MEKONG in 2006. Since then it moves through several mediums [among which mural painting, DIY editions, urban extemporary installations, underground flyer design, screenprinting, video etc.] across many cities in Europe [Bologna, Rome, London, Berlin, Lisbon, Barcelona, Sofia among the others]. Always changing materials and places for its radical experimental attitude, yet it always keeps a strictly defined aesthetics and a tendency to pass through underground channels and direct [visual] action.

 

"POST-SOVIET-INFERNO

This project came out as a side project of my RURAL MURAL COLLECTIVE residency in Ihtiman, Bulgaria, October 2020, and it soon turned to be the main project because of its conceptual and aesthetic specificity in relation with my work.

I found the place walking randomly in the small town of Ihtiman where we were guests on residency, while having a walk in the sunny afternoon; I was really impressed -shaking, actually- to get into this soviet-looking massive building and realize that that was the perfect scenario to paint my post-industrial totems and give them the spiritual depth they deserve.

I started with the project in a few days, going there alone with a synthetic equipment -just rolls/extension and black and white painting, as I decided not to put any colour in there but just work on the masses and shapes to keep the concept as clean as possible. I've been working there for just one week before being forced -by external causes- to leave the town, moving to Sofia where I eventually settle and start one more chapter of my nomadist life.

The experience itself has been really powerful, as the place -a concrete and bricks naked carcass with no doors or windows or anything more than structure- was totally thashed and in the middle of a gipsy neighbourhood -it happened couple of times to meet some weird people wandering inside, but they actually didn't mind my presence at all. Plus I painted huge totems -as big as I never did before- floor by floor, with a small extension and without any safety measures so that I was standing on the edge of 20m height risking to fall and get totally smashed.. Irecone this hi-risk condition was creating the very connection with the spiritual power of the place itself, ruins of an aborted futuristic dream of progress for society which totally collapsed under the totalitarian rule of global capitalism, but which still lives inside those ruins and affects our way of seeing and perceiving concrete reality.

I always saw my urban totem machines as a research for a true spiritual connection with the environment, in the fashion of african ritual function of art, a proper social function that in our materialistic plastic society got totally lost, leaving art as a mere aesthetic process of production/consuption, an unfinished business that mirrors the void of our souless mass culture. I recone this to be the best expression of this aesthetic concept, a way to put it on a deeper level and on a 1/1 scale, and a very occasion for a personal spiritual acknowledgement of the function we -artists- are supposed to put inside our visual production."

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