At the top of this home page there is a search banner by artist name or event to facilitate the search among more than 1000 artists who participated within hundred Plexus events.

WELCOME TO

PLEXUS INTERNATIONAL OFFICIAL ARCHIVES 

 

Over its 40 years, all Plexus events have been documented in the Plexus Archives, built one upon the other made up of past concepts and activities projected into the future.

PLEXUS is a co-authorship adventure of artists in the first person to create a NEW SUSTAINABLE ART WORLD MARKET 

As a serpent eating its own tail, Plexus is transforming itself in the process.

PLEXUS NON LINEAR VISION

PLEXUS NON LINEAR  MITHO-COMPRESSIONIST CURVILINEAR NURAGIC VISION

PLEXUS NON LINEAR VISION , 23s BLOG, 13.12. 2025

 

A SHARED RITUAL OF ART

DISCOVER PLEXUS ARTISTS 

 

 

THE DEMATERIALIZATION OF REALITY

THE WORLD HAS CHANGED!!

 

ART IS MAGIC FOR 

A CHANGE IN PERCEPTION AND AWARENESS

PLEXUS KRE MBAYE ATERLIER D'ART POUR LES ENFANTS MEDINA-DAKAR

THE DEMATERIALIZATION OF ART

DO YOU THINK THAT IS IT POSSIBLE TO EAT AND DIGEST ANDY WARHOL DEMATERIALIZED INTO A PLEXUS CAMPBOLL'S SOUP CAN?. 23s BLOG, 18.11.2025

 

THE MONEY OF ART BELONGS TO THE ARTISTS

On February 27, 1986, in New York, in the Lower East Side, at the Cultural Civic Centre C.U.A.N.D.O. (Culturas Unidas Aspireran Nuestro Destinos Original) , Plexus staged its Art Opera 3, “Eve: Escape for Donna Purgatorio from 1986 Anno Domini by the Multinational Chain Gang of Dowtown New York”, created and produced collectively by 220 artists together. 

It was only one hour spectacular event for the public, built for a week through an atelier des arts, performed by a cast of 220 musicians, poets, actors, dancers, videomakers, performers and visual artists, featuring many prominent figures on the N.Y. downtown avant-garde scene, on board a metaphoric art slaves boat.

Rife with symbolism, the story line of EVE art opera was about the journey of an art slave ship, on its travel through art history, escaping from the contemporary New York artworld.

 

Plexus Art Opera n.3 "Eve, escaper for Donna Purgatorius from Anno Domini", 1986, Cultural Civic Centre CUANDO, Lower East Side, New York

Artwork by David Mora Catlett, New York, 1996

 

In the beginning of January 1987,  in Amsterdam, Plexus started to be developed  as a multi-lateral interdisciplinary recall network, created and produced by artists and scientists in the first person with Willem Brugman staging 

the arrival of a Plexus Working Station to assist its art slaves boat travelling on the triangle slaves route of New York-Europa (Amsterdam, Paris, Rome, Sardinia)-House of the Slaves, Goree, Dakar, Senegal, Africa. 

 

 

The Plexus Working Station was staged at the Cosaai Production of Hans Harlos, who had built a huge ark in the center of the Amsterdam harbor, as a recall presentation of the Plexus Art Opera 3 "

Artwork by Hans Harlos, Cosaii Production, Amsterdam 1987

 

In the same time, in New York, with Shalom Newman at Fusion Arts, it was organized a party-event with a fire performance by Paolo Buggiani and his Minotaur, to present the Plexus Purgatorio Book, made by one single original page from all artists from the 1986 Plexus Art Opera “Eve”, to promote a broader participation from New York to Sardinia for the Serpent event.

 

Plexus Eve Book Presentation at Fusion Art, 1987, New York

 

On 18 February 1987, in New York, at the Patrizia Anichini Gallery, DO YOU THINK THAT IT IS POSSIBLE TO EAT ANDY WARHOL BY EATING A PLEXUS CAMPBOLL'S SOUP CAN?

was performed as an aesthetic inquiry by Sandro Dernini for his PhD. New York University study.

 

Named it as "Art Slaverism" by Sandro Dernini

 

On June 30, 1987 in Rome, at the Theatre in Trastevere, an old L.I.A.C.A. place, it was held the press conference to present the Plexus art co-opera ", as the first international art slave market show in modern art history, to be staged, in Sardinia, at the megalithic sanctuary of Sa Itria in Gavoi, from 1 to 4 July, 1987.

After the press conference a Plexus happening was performed in the streets of Trastevere as a recall of the 1978 

L.I.A.C.A. (Lega Italiana Associazioni Culturali Alternative) cultural slaves market happening held in Rome the freedom of expression and association in Italy.

Il Serpente di Pietra, with more 160 artists as art slaves coming from 23 different countries, 

was a four days of art and science, connected via the bitnet academic computer network, before that Internet existed, coordinated by the Bruce Breland and Robert Dunn of the Dax Group of Carnegie Mellon University with Franco Meloni of the University of Cagliari.  It was dedicated to the Heinrich Hertz’s  100 years electromagnetic celebration for Freedom in Art and Communication.

 

PLEXUS ART CO-OPERA 4 IL SERPENTE DI PIETRA, Gavoi, Sardinia, 1987

Passport for Plexus Serpent, from Purgatorio to Paradise,  Gavoi, Sardinia, 1987

On May 21, 1988, the Plexus Open Call Art Slavery Photo Shot Manifesto, as a multi-fractal 900 artists faces photo,was launched from the Rivington School, Lower East Side NY.  freedom of art. 

Rivington School was a radical art urban project, founded by Ray Kelly as a workshop of metal sculptors, with a particular style, summed up as “Dada meets Country-Western”, building a metal garden, in an empty ruined parking lot, at 172 Forsythe Street, in downtown of Manhattan.

A large number of historical Plexus participants answered to the Plexus Open Call, and on May 21, 1988, at the Rivington School’s monumental sculpture sanctuary, Ivan Dalla Tana took the first historical art group photo shoot, as ritual opening act of the Plexus Manifesto, before its International departure.

 

In Rome, on June 15, 1988, at the Metateatro, the second group shot of artists, including several historical participants of the Italian avant-garde of the 70’s and 80’s, was taken by Adriano Mordenti, in front of a large photo of the Rivington School’s event and at the center of the stage framed with boxing ring posters from a past theatre play.  

    ELISABETH BOAT, CARLOFORTE, SARDINIA           PLEXUS RECALL FRACTAL

The third historical Plexus group photo was taken, three days after, on June 18,  in Sardinia, in the harbour of Carloforte, where previous Plexus group shots from New York and Rome and Plexus Campbell’s cans, were carried by Sandro Dernini and Fabrizio Bertuccioli on board the Elisabeth boat, symbolically “dressed” as the Plexus art slave boat 

On August 26, 1988, a serpentine art procession parade of hundreds participants, performing ritually the exile to Gabon of Cheik Amoudou Bamba, theatrically directed by Omar Seck of the National Theatre Sorano,  moved from the studio of Kre MBaye, at rue 17 angle 8, inthe Medina, going through the streets to Dakar harbour the take the ferryboat for the island of Goree.

At the conclusion of the parade, Sandro presented the Plexus International Open Call Against Art Slavery Manifesto  to the representative of the Mayor  together with the proposal to open a World Art Bank in Goree,  against any kind of slavery.  A large group photo shot, made inside the House of the Slaves on the stairs of “the door of no return,” ended the Plexus event.

 

On November 13-20, 1996, the special event

From Welfare to Well Being:  Eating Art,  Get the Best From Your Food,  Food for All, on the occasion of the First World Food Summit organized by FAO United Nations Organization , was staged i at the Roof Garden of the Palazzo delle Esposizioni of Rome. From there, Plexus launched an Open Call for a World Art Bank, in Goree-Dakar, Against Any Slavery In Order To Survive, addressed to support nutritional education projects in the most disavantaged communities, starting from the Medina of Dakar.

The Voyage of the Elisabeth for the Plexus Art World Bank 

 

1996 PLEXUS OPEN CALL FOR A WORLD ART BANK AGAINST ANY FORM OF SLAVERY, PALAZZO DELLE ESPOSIZIONI, ROME

PLEXUS KRE MBAYE ATERLIER D'ART POUR LES ENFANTS MEDINA-DAKAR

 

 

PLEXUS METR'ART

Plexus Metr'Art, is a monumental historical work of contemporary art, made up of 390.94 meters of original photocopies, from 2004-2019, of 935 digital works (jpg),  by 469 artists from all over the world as their contribution to the 

                             Plexus Open Calls 

PLEXUS ART CO-OPERA 5 LA FARFALLA  THE RETURN ON ART INTO THE COMMUNITY,  HUMAN RIGHTS DAY, 2018, MACRO MUSEUM OF CONTEMPORARY ART OF ROME.

A MULTI-ART FORMS EVENT CONNECTED WITH CAGLIARI, SARDINIA, CAINS (AUSTRALIA), MEDINA-DAKAR, NEW YORK AND SANTA FE

THE VOYAGE OF THE PLEXUS METR'ART

Since 2004 up today, the Plexus Metr'art has traveled physically and virtually between Gorée and Dakar (Senegal) - Ballarat and Cairns (Australia) - Lecce, Rome, Cagliari, Passo del Furlo (Italy) – New York , Palma de Gran Canaria, Rio de Janeiro Jerusalem, Rome, Assisi.

 

 WHAT IS PLEXUS?

 

What you feel and see is your own creation…

We are called PLEXUS

Leonard Horowitz, New York, 1986

Plexus Viaggio del Serpente, New York University, 1988

Plexus may be is one of the most complex, one of the most universal, in Plexus we find so many different kinds of performances of art, actions and exhibitions, which is important as a kind of summa of all works since the Living Theatre, Cage, all schools of improviser art.

Giancarlo Schiaffini, Rome/New York, 1981

See and You See. Now the Space between You and Me Disappears.

But I Still Despair because I Don’t Know whether You Did what I Did….

in order to See what You See. 

Miguel Algarin, Lower East Side, New York

 

 

Art is a way of life, it is a way of understanding.  Art is something else from money, and from what bullshit is presented usually. Art is the future which can't be controlled.   It is in the air without wires.  Art is free.  The artists are part of the structure which the power system is trying to push out.  Liquid forms vs. square lines.

 Ray Kelly, New York, 1985

 

 

  

DEFINITION 

l am

What you

Don't think

l am

Which is what

You don't

Know

 

The beauty of Plexus is that we were strong enough to be able to cross all conflicts, beside the fact that we have different origins, the feeling that we have, we were able to do what we had to do without to put in front our confrontations to block all the project and to go together and to move further the project to go on.  There was a mystic force behind us to pass through all the economic difficulties and to answer to the question:  for whom I am doing this?

 

Alfa Diallo, Lower East Side, New York

Long distance lies between virtual realities and actual living, breathing realities.

 

Willem Brugman, Cairns, Australia 

PLEXUS IS WHAT YOU THINK, THAT IS.

PLEXUS is the shaman journey

along the lines of Van Gennep’s Rites of Passage‘s format.

Barnaby Ruhe, New York, 1986

Barnaby Ruhe, New York, 1986

Plexus Black Box has not a defined definition.  It does not work in definition terms.  It is a fluid thought which grows, changes, moves differently for each of us.  It is made to not be framed.  it is a fluid idea, with a lot concerns, it is a radical democracy, it is chaos.

 

Arturo Lindsay, 1987, Rome

We needed greater synthesis efforts in order to define PLEXUS

"ENTROPY"

PLEXUS = kBlnW

PLEXUS as entropy and therefore as information

Piero della Francesca as vision of Global Human.

Franco Meloni, Cagliari, 1987

 

How do you want that pound of Flesh, sliced or unsliced?

Plexus as an open artificial artform that offers the opportunity to many people to feel part of a cultural context, without knowing in advance  the full picture of it and their reason for doing it.

 

Mitch Ross, New York, 1983

 

Bring me in. Bring me out.

"Inside / outside". Perception is a form of seduction, a permanent infatuation between people's bodies. The works created and those to come are merely accessories for the journey. The light I carry – or the Plexus I carry – is a Dark Lantern, but it has a magic little door.

Inside /outside. La percezione è una forma di seduzione, una permanente infatuazione tra i corpi delle persone. Le opere fatte e quelle che verranno sono solo accessori da viaggio. La luce che porto – o il Plexus che porto – è una Lanterna Cieca, ma dispone di uno sportellino magico.

 

Carlo Antonio (Cicci) Borghi, Cagliari, 1986

 Trampled Peace/Paix piétinée/Pace calpestata

Artwork by Alain Coulibaly & Alioune Badara Fall dit Prof, Plexus Triangle de l'Art Festival de la Medina-Dakar, 2004 

   

100 LIMITED EDITIONS PLEXUS CAMPBOLL'S SOUP CANS

A  Limited Editions of 100 Plexus Campboll's Soup Cans filled with 100 Time Capsules, turning each can into a token of discoveries into the multiple other Plexus worlds.

 

EATING ANDY WARHOL DEMATERIALIZED

In opening and eating a Plexus Campboll's Soup Can,  what you will feel and see it will be your own creation…

First question, how do we eat art, and if we eat art how do we digested it?

Second question, how do we eat Andy Warhol dematerialized?, and if we eat Andy Warhol how do we digested him dematerialized?

ARTIFICIAL INTELLIGENGE

EATING ANDY WARHOL, 23s Blog

 

DO YOU THINK THAT HISTORY STILL HAS VALUE IN ART OR IT IS ABOUT JUST MONEY?

 

 

Eve Vaterlaus, "Homunculus", at The Living Plexus Black Box of the Voyage of the Elisabeth, Rosemberg Gallery, New York University, 1993

ART IS LIFE

ART IS NOT AN OPTIONAL

EATING ART IS A BIOLOGICAL NEED FOR OUR EVOLUTION. 23S BLOG 8.12.2025

 

PLEXUS wave of transformations ...

A dip in Plexus , aaaa ! Bruuu ! Humm ! Laugh ! I look around, return to the shore, a glance, and I dip  back , picked up by a wave that makes you bump into its current strong, weak , which is transforming itself and, then it calms ,  I profit!  ascend to the surface, a little ' breathing air , the head turns and re-turns , my eyes are toward the horizon and surroundings, see the others , thankfully, I am not alone !

PLEXUS onde di trasformazioni…

 Un tuffo in Plexus, aaaa!bruuu!humm!rido!mi guardo intorno, ritorno sulla riva, un sguardo e, mi rituffo, ripresa da una ondata che ti fa sbattere contro la sua corrente forte, debole, che si trasforma e, poi si calma, profitto!salgo a galla un po’ d’aria respiro, la testa si gira e si rigira, lo sguardo è verso l’orizzonte e dintorno, si vedono gli altri, per fortuna, non sono sola! 

Glaucia Coelho Demenjour, Rio de Janeiro, 2011

 

Plexus Viaggio del Serpente, New York University, 1988

  LET'S SAY POETRY 

by Sebastian Comelli, Romd, 2008

Who killed Henrich Hertz? 

George Chaikin and Sandro Dernini, 1987