In The Year 2525, 2026
Sculpture : marker · 23 x 42 x 0.3 cm 9.1 x 16.5 x 0.1 inch
$1,108
$997
997Â $US
Shipping & delivery
Shipped from: Germany
Delivery to: United States , $ 80
Estimated delivery: Less than one week
Free returns within 14 days, full refund
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Verified Reviews : 9.6/10
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About the artwork
Type
Sculpture : Unique artwork
Condition
Artwork sold in perfect condition
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
marker , without pedestal
Display
The sculpture can be displayed outdoors
Dimensions ( cm • inch )
23 x 42 x 0.3 cm 9.1 x 16.5 x 0.1 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2022 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
In the Year 2525 transforms an authentic street sign into an artefact from an imagined future. A car is crossed out, while beside it a UFO appears, painted entirely by hand directly onto the reflective surface. With one intervention, a familiar piece of everyday visual language suddenly seems to have travelled through time.
The title deliberately refers to the 1969 song In the Year 2525 by Zager & Evans, one of the most haunting pop visions of the future of its era. Released at a moment when humanity was taking its first steps onto the Moon, the song imagined technological progress not simply as liberation, but as something that could gradually change human existence itself. Its journey through increasingly distant years asks whether humanity will still exist and what might remain of us when technology has taken over more and more aspects of life. Gold Radio
More than half a century later, tizlu takes this question and reduces it to two universally recognisable symbols: the car and the UFO.
The car was once a promise of the future. It represented movement, independence, speed and personal freedom. Today it is such an ordinary part of our world that we rarely think of it as futuristic at all. On the original street sign, however, it is already crossed out. Next to it, the hand-painted UFO seems to suggest the arrival of the next chapter.
But the work never tells us whether this is progress.
Perhaps the UFO represents a future in which cars and roads have become obsolete. Perhaps humanity has finally overcome the limitations of the world we know. Or perhaps it is simply the next technological promise, destined one day to become as outdated as the car beneath it.
This ambiguity connects the work closely to the underlying idea of the song. Technological development moves forward relentlessly, but progress and freedom are not necessarily the same thing. What begins as liberation can become dependence; what once seemed revolutionary can become obsolete.
The material itself adds another layer to this idea. The scratches, imperfections and reflective honeycomb structure of the authentic street sign remain visible. They carry traces of a real past, while the hand-painted UFO points towards an imaginary future. Past, present and future coexist on the same surface.
There is also an intentional irony in using a traffic sign. Street signs exist to regulate movement. They tell us where we may go, where we must stop and what we are not allowed to do. Yet the UFO represents the ultimate escape from those boundaries: no road, no lane, perhaps not even gravity.
In this way, In the Year 2525 becomes more than a playful piece of science fiction. It is a reflection on our fascination with progress and our persistent belief that the future will somehow free us from the limitations of the present.
And beneath its humour lies the same unsettling question that made the song so powerful in 1969:
How much of ourselves are we willing to leave behind in order to reach the future?
Presentation
tizlu aka Tiziano Lucchese is an internationally known ultra-contemporary artist. He studied Art and Technology in the Netherlands and lives in Germany. His works as a multi-talented artist have been featured on television and showcased at prestigious international festivals. In addition to his work in the fine arts, tizlu worked as a director for commercials and fictional movies and editor for prime-time shows on major TV networks. His art is part of renowned fairs and private collections across the globe; from New York to Paris, from Australia to Canada.
tizlu's paintings appear as they were directly cut out of a living streetscape—where everything is possible, and nothing is mainstream. His artwork is the result of a refined blend of materials and techniques. He uses plaster, paper, and acrylic paint to create textures that evoke the appearance of weathered walls. On this foundation, he paints his unique motifs, layers drawings, messages, self-made stickers creating an art piece which becomes an urban patchwork reflecting the raw, spontaneous character of the streets and today's society.
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