Born in Cannobio (VB) in 1974, Massimo Falsaci is a contemporary Italian artist. The artistic language of him, begun at the end of the 1990s, part of the comics and editorial publishing expression, in techniques and subjectivistic, with the illustrator Karel Thole. But only from 2000, when he attends the school of painting by Gianna Berrettini in Milano, the personal experimental need took place; Massimo will experience all the different pictorial techniques: oil, acrylic, watercolor, chalks and charcoal, arriving to prefer the combination of digital-acrylic image. Initially linked to the lodging of the new figuration, his works have developed an aseptic re-elaboration of the contemporary imagery, taken from the metropolitan living and from the daily massive figures. Through his works, Falsaci proposes intermediaries of social evolution: if on the one hand, the young artist, concretely lowered in modernity, he lives the communicative change of our era, on the other, just as an ancient Medieval Bardo is able to convey to the community the most hidden nuances of our hectic world, often unknown to the most.
Over 2010, the artist-communicator Massimo (always characterized by a pungent and careful criticism towards contemporary civilization), introduced, in his representative language, conceptual nuances from the world of the web network. His most recent works tend to recall both advertising frames and sections-showcases of Internet portals, where each subject / object in sight reveals exclusively the "perfect" idea of the product you want to show: be it a bridge, a building or the human profile of a person. At the daily request, by today's society, to see and consume exclusively the beauty, the perfect and the impersonal, Falsaci responds by proposing sets, ironically pre-packaged, of "perfection and kindness". To that wide mass of public that wishes to expose their emotions, this particular artistic-social vision allows paradoxically to become a spectator of their existence.
Alessandra Redaelli writes: "We find ourselves faced with meditated elaborations, transfigured in modern synthesis, which pictorically are the result of a spontaneous feel and an interior questioning. Therefore, Massimo Falsaci, when he inserts in the works symbols and structural signs, a "code" recovery operation is set up, through the reversal of questions from the meaning to the signifier. He also uses metaphors about completeness and fragmentation, discovering images from particular glimpses from the environment and the time we live. To those who think that the potential of the pictorial expression is consumed, these "bonds" without titles appear as a reflection on the language of visual arts, which have the privilege of being able to compose, in a single conceptual speech, different emblems, objects, written, colors and representations of apparent or abstract reality".
Massimo won the 2004 Gaber Award, 2007 Diesel Wall Award, he was the finalist of the Mondadori Art Competition 2009-2010-2011-2013-2014, he was selected from the 100 best posters at the Poster for Tomorrow award and he has several collective and personal exhibitions in Italy and abroad .