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Tempo dentro (2023)

Sound installation that reflects on Bergsonian time and the continuous asincronicity of our perception.

Bergson distinguishes scientific time from the time of consciousness. The former means chronologically ordered time, in which instants all the same follow one another with which we can express past, present and future. The second, on the other hand, constitutes our inner time, that is, a personal dimension of time in which the past flows into the present through memory.

Consciousness is awareness of stimuli and reactions as they occur, but a stimulus can evoke signals in the brain before the individual becomes aware; it follows that our perception of time is an illusion. Through consciousness we can perceive the flow of stimuli and interpret them through memory.

The singularity of each consciousness is immersed in society, in which digitization and globalization have accelerated the flow of stimuli, which implies an overload of the attention market and an inability of the mind to process information, while decisions are increasingly subject to automatism. 

Franco Bifo Berardi theorizes two ways in which human beings relate to the Other: connection and conjunction. We are forced to apply connection when the external flow is chaotic, but this results in a formatting of information, impoverishing the interaction. When the flow of information is too fast for conscious processing, the mind perceives a chaotic situation, which can only be resolved by imposing a slowdown of the infosphere such that mental activity can be processed and synchronized with the environment. The second mode of relating to the external environment comes into play: conjunction, which requires the exercise of empathy, analysis of nonverbal language and decoding of raw messages, but can result in temporary attunement.

The installation consists of three people reflecting on their own perception of time in a monologue. Their voices come from three different speakers. As they speak simultaneously, the auditor’s experience is messy and varied, depending where they’re standing. The chaos is suddently interrupted by brief moments of sincronicity in which the three voices pronounce the same words.

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È tutto oro ciò che luccica (2023)

interactive installation

The installation consists of a video projection documenting what I see along the walk and public transportation route from my home at the Venice Lido to the Iuav Ca’ Tron building: the place where the installation is displayed. 

A Kinect sensor detects the distance and approach of the observer to the projection. Through a max msp patch, the approach of the observer is translated to a slowing down of the video playback speed. The unpredictability of the observer’s behavior in front of the work determines the unpredictable duration of the installation itself.

The project celebrates the ephemeral in order to catalog time and not let it flow around us. It is Maurice Merleau-Ponty’s metaphor for time: “not a line, but a web of intentionality”. The title translates to “All that glitters is gold”, it is a twist to a popular saying and it refers to the ephemeral nature of the glow emitted by what glitters and thus invites us to value and give proper attention to what lasts for a short time.

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Contaminato (2022)

collective performance with sand

In November 2022 I had the chance to participate in a workshop held by Helène Delprat at Teatrino di Palazzo Grassi.We were eight artists and shared our practices, interests and space for four days. We worked trying to think about what is “other” from us.

I worked on the space we were spending our time in: the foyer of the Teatrino. It’s a very clean space both visually and litterally. I started mapping in my own way how we were moving in the space following the activities. Helène guided us troughthe development of our own work.

The second day I felt conscious about the sand I had under my shoes, from the walk on the beach I took the evening before. I was contaminating this very clean environment that from the first moment invited us to work a lot on the floor. I decided that was my way to get in touch with the other artists and a possible audience.

I’ve installed a little bit of sand from the beach in front of the entrance and the little bit of sand that people spread in the inside space was enough to be perceivable under the shoes.

The sand interacted with the other artists and an aplifier of the sound made by sand on the floor arose by this practice.

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The Invisible Lively Matter (2021)

L’’installazione video riflette sulla percezione, l’identità e la realtà. Ognuno di noi è dotato di una gerarchia di sensi che interagisce con l'ambiente circostante e modella la realtà, a cui rispondiamo con una reazione che modella la nostra identità. Decostruendo la percezione che solitamente costruiamo attorno alla combinazione di informazioni forniteci dai nostri sensi (vista, udito, tatto, gusto, olfatto) l’opera analizza un cambiamento nel concetto di identità e fornisce una prospettiva diversa di “percepire” la realtà. Due video vengono proiettati contemporaneamente, uno rappresenta la percezione visiva, l’altro la percezione olfattiva. Culturalmente nella società occidentale l’uomo si affida principalmente a vista e udito per interpretare la realtà che lo circonda. Attraverso la vista, posso riconoscere i limiti e contorni delle entità che mi circondano, questo senso supporta una visione del mondo che divide le entità in categorie, distinguendo tra esseri viventi e non viventi e infine accentuando la differenza tra uomo e natura, tra sociale e materiale. Attraverso l’olfatto, le entità diventano insiemi di molecole volatili, in dialogo costante con l’ambiente circostante, che si mischiano e aggrovigliano con altri odori. I confini e “contorni" vengono abbattuti. La materia si estende oltre i confini visivi. Esseri umani, come animali, piante e oggetti inanimati, sono ugualmente capaci di produrre e accogliere molecole volatili che influenzano consciamente o inconsciamente la nostra mente e il nostro corpo. Cosi esseri umani, come animali, piante e oggetti inanimati sono portati sullo stesso piano e riconosciuti tutti come soggetti attivi del nostro ecosistema, la cui identità è in continua evoluzione in quanto combinazione di diverse particelle in continuo scambio con l’ambiente circostante. Approcciandoci alla realtà attraverso l’olfatto, l’identità non è più un elemento unico, ma una combinazione di diverse particelle, in comune o uniche rispetto alle altre entità, in continuo divenire, influenzata da tutto ciò che la circonda. Un gruppo fluido, eterogeneo di molecole in movimento. L’identità olfattiva si estende oltre i confini dell’identità visiva e permane più a lungo nello spazio, anche dopo che l’entità ha visivamente lasciato l’ambiente. L’opera è supportata dalla teoria di Ingold per cui il mondo non è rappresentato come un agglomerato di entità separate, ma come un intreccio di forze o vettori (lui le chiama linee) che vanno al di là delle convenzionali entità fisiche che percepiamo visivamente.

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Tana (2020)

installation

As I was living in my student room during lock-down I felt like I had no privacy. 

As I could see my neighbour smoking his cigarette from my bed, he could see me in bed. I had no curtains.

The window that was filter-less became a screen as much as the webcam of a video-chat.

I made myself some courtains and they became the filter between my reality and the outside. They allowed me to share as little or as much as i wanted.

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Il Viaggio di Albedo (2021)

Children’s book

“Il viaggio di Albedo” is a game designed to introduce the theme of albedo to kids through a game inspired by “La corsa con i sacchi” and a book whose protagonist is Albedo. Albedo protects the Earth from sun rays, but to do so he has to stay in white and bright environments otherwise it darkens. Through the game the kids will get to act Albedo and begin their journey. Il viaggio di Albedo is part of a bigger event: “Come on Kids! Play with Climate” that deals with climate change and aims at communicating various themes in a simple way and through games to children and their families.

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Preserving the Presena glacier (2020)

Social interest campaign

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Equilibrium (2020)

Exhibition

During the first quarantine, I imagined an exhibition starting from the space I was living in. Developing a theme of equilibrium lost and found, using daily use objects as art pieces to expose.

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Sly fashion Brand (2020)

Sly is a brand born from a research in the video surveillance and facial recognition field: two technologies that are becoming more and more present in our daily life. This kind of biometric data-collection is yet to be legislated and threats to violate our privacy and steal our identity, while hidden from people’s knowledge. SLY is launching a set of casual-looking garments designed to disturb these data-collecting devices, using disturbing patterns, thoughtful shapes and textiles. The collection features an anti-smog mask, a high-neck shirt and a scarf.

.01 is an anti-smog mask, a casual garment which features graphics that are inspired to first world war boats’ patterns, which help to hide the shapes and volumes of the face.

.02 can be worn as a casual white scarf or as an anti-facial recognition device, just by switching side. The applied graphics are inspired to first world war boats’ patterns, which help to hide the shapes and volumes of what is underneath.

.03 is a high-neck shirt which features a double length of the neck. It can be worn as a casual shirt or as an anti-facial recognition device, just by pulling up the neck. The applied graphics are inspired to first world war boats’ patterns, which help to hide the shapes and volumes of what is underneath.

Designed with Pietro Langè

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The Botanical Magazine (2019)

by William Curtis

typography and graphics

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Filippo and Me (2019)

Visual Communication project, developed on the theme “Tradition as Revolution”. The project explores the ways in which we perceive people and how we represent them. The study starts from the early paintings of couple’s portraits and develops through the use of other senses. In particular it analyses the dimension of the sense of Smell in the field of memory and emotions and the possibility to recall someone’s image through it.

Two people’s smell was analyzed through gas-cromatography and mass-spectrometry to translate it into a poster.

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Buskers Ferrara Festival 2019

Poster created for Ferrara’s Buskers Festival which is held every year in summer. The festival was born as a safe place where street musicians, for a short period of time, could play freely on the street, then  street food stands and workshop took part too. The poster is a remake of the traditional poster of 1992 and it is inspired to Depero’s ballerinas. The figure represents the typical busker one-man orchestra.