Time’s Up – No More Weapons
A vision for the final threshold
We live in an age of fracture. Never before has humanity held so much knowledge, creativity, and technological power—yet never have we been so close to irreversible collapse. This visual manifesto was created to portray that threshold: a critical edge beyond which indifference is no longer an option.
The image shows a world split in two:
on one side, life—dense forests, vibrant greenery, natural harmony; only a few weapons, still possible to eliminate.
on the other, devastation—burning cities, apocalyptic flames, clouds of ash.
Across the center, in red and white: “Time’s Up – No More Weapons”.
Not just a phrase. A warning. A moment of radical awareness: the time for denial, delay, and delegation is gone.
I created this piece for the event noweapon.world, a platform dedicated to dismantling all forms of systemic violence—physical, political, economic, symbolic.
The world depicted here is not a dystopian fantasy, but a mirror.
It’s up to us to choose which side we want to stand on.
This image is a weapon against weapons.
A wound that speaks.
A threshold between the before and the after.
We cannot wait any longer.
Time’s Up – No More Weapons.
Pier Giorgio De Pinto
(Civitavecchia, 1968) lives and works in Ticino, Switzerland.
He has been working professionally as a visual and transmedia artist for nearly 30 years. His works are part of international public, private, and corporate collections. As an artist, he has exhibited in numerous museums, institutions, and art centers, including Tate Britain and Whitechapel Gallery in London, Palazzo Medici Riccardi in Florence, Palazzo Ducale and Gàlata Museo del Mare in Genoa, Viafarini DOCVA and BASE in Milan, Raucci/Santamaria Studio Project in Milan, the Pinault Foundation at Punta della Dogana and Palazzo Grassi in Venice, MACT & CACT Museo e Centro d’Arte Contemporanea Ticino and Villa dei Cedri Museum in Bellinzona, i2a International Institute of Architecture in Lugano, Haus der elektronischen Künste and Fondation Beyeler in Basel, Kunsthaus Baselland in Muttenz, Le Manoir in Martigny, Cabaret Voltaire in Zurich, and the University of Art and Design Lausanne (ECAL).
He exhibited at the 7th Berlin Biennale and was among the artists selected for Manifesta 11 in Zurich.
In recent years, he has contributed his expertise as a trainer, writer, and reviewer of linguistic content for Artificial Intelligence, focusing on analyzing the safety, factual accuracy, and reliability of AI-generated outputs. As an experienced beta-tester and user, he has specialized in machine learning techniques such as RLHF (Reinforcement Learning from Human Feedback), applied to chatbots, AI tools, virtual assistants, and image/video generators.
