‘Synchronizing Machine N°2’
Edition Size: 30
Size: 400 x 550 mm
Technique: Archival Pigment Print on Hahnemühle Photo Rag 308g
Numbered and signed by the artist duo.
Every print will be delivered with one pair of protective gloves made out of cotton and a certificate of authenticity singed by both artists and gallery owner. The certificate ensures originality and limitation of the series. Prints will be unframed.
100,84 €incl. 19% VAT
106 £ / 895 DKK / 1.240 SEK / 0 Lt / 516 zł
3.104 Kč / 38.784 Ft / 560 lei / 235 лв / 892 kn
0% VAT (Net Price / Outside EU)
101 € / 116 US$ / 7.587 Руб / 115 CHF / 一万三千十三 ¥
Pablo Togni (1979) and Christian Rebecchi (1980) from Swiss are the artist duo Nevercrew.
In Nevercrew’s work the mechanisms are the trigger, the generator from which the rest develops. They consider them the primary key to understand and allow them to give a proportion to things. Obviously, as mentioned, they see as “mechanism” in a broader sense also the whole system which they represent: the group of elements in an artwork which in turn is compared with what surrounds them physically or conceptually. The relationship between the parties is extended to the whole of reality, the place and the viewer, that they seek to involve on different levels (logical, emotional, associative). This then completes the structure with its own vision, with its history and its multiple interpretations, and he is given a way to look at a system, of which it is part, from the outside.
How did you get in touch with art?
We both have parents that were always interested in art and we’ve been probably inspired by their attitude and things that they let us discover in our childhood. Moreover, they were always very willing with us and our choices.
When did you start doing art?
Difficult to say. In a very general and instinctive way we started when everyone start: when we were child. From the “disposition” point of view we started at school, since we both used to create in many ways, using our time to draw, build things, invent, write, and so on.
From an “attitude” point of view we started after the Art Academy in Milano, when we decided that this is what we wanted to do and in which we wanted to put all our energies and thoughts.
Did you start working as an art duo?
In the 1996. We met one year before at the art school in Lugano (Switzerland), our hometown, and we started doing many things together. We did comics, graphics for hip-hop mixtapes, videos and school projects and then we decided to start painting on walls too.
So you know each other for a long time and very well. Do you also work on single art projects?
No we don’t. We both have our personal hobbies, also creative ones, but we have no time and energies to use for separate projects, to engage them enough seriously to consider them “art” in the way we want. We really like to concentrate on our actual path.
Can you tell us the meaning behind the name Nevercrew?
It’s our name since the nineties. We can say that it has both a personal and a conceptual meaning.
Tell us the idea behind the artwork „Synchronizing Machine N°2“ that you just released as a limited giclée print edition.
It naturally comes from our recent path, where we explore the concepts of “system” and “mechanism” and we continue building our personal language.
In this specific situation we wanted to work on the idea of empathy, intended as a mean that could permit a relationship between different parts on the basis of common elements. This kind of empathy is then related to communication, both between the elements and between the system and the viewer. A “double vision” in which we try to highlight the balance and the links between things and recall a thought about everyone’s position into a system in relation with what and who’s all around.
You are traveling a lot and did paintings all around the globe in the last years. What are your plans for the future?
The very next steps are a few mural paintings and group exhibitions in which we will present new canvas, prints and instalaltions. Before the end of the year we have a lot to do and we’re happy about the quality of the projects in which we will be involved.
For the future we imagine to continue working in this direction, increasing more and more the concentration on what we’re doing to continue developing it. We also hope to be able to take a little bit of time for think and experiment and to find the right situations in which to present a few ideas that we have in mind.
Thank you very much for the interview.
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