Federico Pongo 3D is an Italian conceptual artist well known for his accusations against the 'smart' society. Pongo 3D creates paintings that can be looked at with red and blue glasses , just like those of the first 3D movies of the 1950s. Pongo wants to demonstrate how the artist can overcome computer technology with painting and intelligence. His concept is: 'Without Truth'. Authentic pictorial works that simulate 3D visions, without the use of the computer and only with the ingenious use of his creative drawing techniques and the color. Son of an artist, he hanged out with Andy Warhol in New York, often following his father at the Factory.
Andy Warhol had shown his father 'Trash', a film he had produced a few years earlier, directed by Paul Morrissey and starring the young Joe Dallessandro. Despite his young age, Pongo had watched the screening in silence and had been troubled by it. That film was the spring for his first action that we could define as ‘decollages’, but without the tears as Mimmo Rotella. Federico Pongo began to take possession of writings detached from the walls, images without a critical concept, as in a metropolitan safari around the blok of the number 860 on Broadway, the headquarters of the Factory back then. Back in Milan, he enrolled in the artistic high school but became aware of social differences, and with the name 'Pongo' he imposed himself as the innovator in Italy of the current that was being expressed in the United States with artists such as Keith Haring and Jean Michel Basquiat. Insatiable image processor, Pongo maintains relationships with the famous historical groups New Yorkers TNB and TAT, already active in the 70s and considered the pioneers of Writing.
Federico Pongo had fed on the school of his ancient family, which his ancestor had already undertaken in the art of printing in 1835, founding the first publishing house of the Kingdom of the two Sicilies by royal decree of King Ferdinand II of Bourbon. His grandmother had been a futurist and then a realist painter. The father, artist and director, had moved in the wake of the Fluxus current with the utopia of the historical avant-garde to merge the languages of art and communication. Among other things, Pongo's father is the author of the historic work of art that in 1977 anticipated the collapse of the Berlin Wall, 12 years in advance, and was signed by Gorbachev and the Nobel Peace Prizes from all over the world.
This work - together with Picasso’s 'Guernica' - represents the meeting between social history and art, between war and peace in the 1900s. Pongo therefore lived the expressions of post-war culture at the forefront. From film sets to performances to exhibitions, he understood the lesson that his father had called 'Over / going further'. At his father’s side, he met international actresses from Kelly LeBrok to Brooke Schields, protagonists of contemporary history such as Karol Wojtyla and Mikhail Gorbachev, directors such as Buñuel and Fellini, art historians such as Pierre Restany, Achille Bonito Oliva and many artists besides Warhol, Schifano And Gillo Dorfles, who was also a great art historian and who wrote about Pongo: “he is the artist who scratches the future to affirm that there will be a future, he reveals the extreme effects caused to our planet by the obtuseness of the governments of the world'. With this wealth of experiences and in memory of his father's exhibition 'Medialism' curated by Gabriele Perretta with Maurizio Cattellan and other artists at the Flash Art Museum, Federico Pongo understood that he could not stop his research, because the 'media' would be all swallowed in the end by the 'Smart' technology, which over time would have taken away the centrality of man. As Lucio Fontana, he was fascinated by the new technology of neon light in the post-war period and wanted to go beyond the canvas with holes and cuts in the search for a new sense of art; so Pongo, half a century later, looks beyond technology and demonstrates it with his 3D pictorial works without the use of a computer.
He creates works with his creative language, becoming the pioneer of this unique and original 3D pictorial style.
Pongo declares his paintings 'Deceptive Art', because we live more and more in deception. Today more than in the past, with technologies that can rework everything and that make the lie explicit.