BIO

SABAPRODAKSCION [eventually evolved in SABAPRODAKTION] appears as a visual production trademark on a comics fanzine, MEKONG- storie di surrealta' quotidiana, Bologna, 2006.

The idea of a mutant subject not bound to a body/identity doesn't come from so far -from the post-dada / surrealist / situationist undercurrents, from Stewart Home's Neoism, collective names such as Luther Blisset and all those circles in-between anarchism and contemporary arts -post-punk we could say.

In the first phase of its activity, it focusses on assemblages of mainly industrial leftovers painted with sprays as well as used as stencils for extemporary art compositions then installed -illegally- in the urban landscape.Comics zines keep on running for all the period, from n.00 to n.07 [2010]. Mural painting and propaganda -the 'hairy bone'- associated with documental/experimental video are the most used means, in this phase which includes also the first important trips to London and Berlin, mainly. Through the silkscreen use the 'hairy bone' broaden its presence from urban furnishing objects -electric boxes, payphones, posters etc.-onto the bodies of its supporters.

A second phase starts with the -more or less- definitive moving to London, 2013. Here Industrial-noise music culture starts to merge with the other influences and to implicate a shift in production towards experimental research to create more complex and matter textures; it begins the use of cardboard printing, which will be explored as a technique later on. With the involvement in the experimental/noise collective WORIN'KLASS NOIZE self-production takes over, including sonic production beside the visual one. The collective fanzine BLITCH is a little synthesis of the imagery pushed by WKN. Using the technique of collage out of the same image, under the influence of the digital and glitch aesthetics, it develops another experimental technique -the ANALOGLITCH, witch through the repetition and multiplication of the image creates a psychedelic moving effect; also begins another way of exploitation of the collage, using the instruction manuals from IKEA, as in the important collaboration series MANUAL de/STRUCTURE, 80 silkscreens printed at Jonathan Comerford's HARDGROUND PRINTMAKERS studio, in London, 2014. 2014 is also the year of the return to comics with KAPO, a special edition in A4 with linocut cover.

The last phase -the actual one- begins with the definitive tranfer from London to a kind of nomadism without roots; its launch, in Lisbon 2016, is the experimental mini-festival O RUIDO TERAPEUTIKO DA KLASSE OPERARIA, collaboration between WKN and Associacao Terapeutica do Ruido, a Lisbon-based collective very active on the indie/experimental music scene. From now on the style get contaminated by several collaborations with fellow artists [Binau, Fiumani, A. Trindade...] and start prevailing the use of rolls to execute mural paintings, also for the influence of the trio CANEMORTO, met in the London years and just passed by Lisbon in 2014, leaving heavy traces of their wild style. Rolls are a great drive for mural painting, a constant commitment in the visual activity. On the side of studio painting the cardboard printing starts to mix with analoglitch, out-coming in images in-between VHS/CCTV aesthetics and digital windows, a proper defined noise aesthetics. Last works at Ihtiman Hospital take back the theme of TOTEMS [already there since the very beginning of 'urban interventions'] on a massive scale, mixing the usual neo-tribalist aesthetics with the post-industrial [post-sovietic] imagery of the ultimate contemporary sonic influences.

By the years the 'hairy bone' [extreme aesthetic synthesis of SPKT] kept on spreading over the urban furnishing of the biggest cities of Europe, witnessing the faith to nomadism and post-industrial underground which is the core of the project.