https://zzzzzproject.com zzzzz project Sun, 18 Feb 2024 23:51:55 +0000 https://zzzzzproject.com en https://zzzzzproject.com/TTT-D Fri, 16 Feb 2024 21:22:45 +0000 zzzzz project https://zzzzzproject.com/TTT-D [t—t—t]* <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/998df5d2aa0cb9e6f34378b50daa0eb0fe9b54f0b37b65d1de74c67b558d70d2/neuo.jpg" data-mid="204817501" border="0" src="https://freight.cargo.site/w/1000/i/998df5d2aa0cb9e6f34378b50daa0eb0fe9b54f0b37b65d1de74c67b558d70d2/neuo.jpg" /> <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/30de3a13b0e1738360595a97ea254e70285317e5384fffcafdb43d63cbd0ed1b/C_2.jpg" data-mid="204817710" border="0" src="https://freight.cargo.site/w/1000/i/30de3a13b0e1738360595a97ea254e70285317e5384fffcafdb43d63cbd0ed1b/C_2.jpg" /> <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/9e870c8494bcf43567dac730c775b136b1bc62b12eb57f6bbd37afa09e5255f2/vyuu.jpg" data-mid="204817465" border="0" src="https://freight.cargo.site/w/1000/i/9e870c8494bcf43567dac730c775b136b1bc62b12eb57f6bbd37afa09e5255f2/vyuu.jpg" /> Fig. #01-03.&nbsp; Cover artworks created for Transmedia Research Institute’s 2024 Open Call ‘Semester of Bits &amp; Atoms’. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Transition, Transformation &amp; Transcendence [T—T—T] is a short visual essay designed for the launch of Transmedia Research Institute's 2024 Open Call "Semester of Bits &amp; Atoms", a new educational program that aims to investigate the human in a post-organic framework. The contribution, indeed, comes from an ongoing speculative research about neural coding, AI &amp; deep visualizations, which will eventually lead to the institution's new visual identity. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; This speculative video was created in conjunction with AI processing — video shots, images, transitions, text and audio were indeed generated through the use of AI, making it the result of a proactive dialogic process between human and artificial intelligence. Fig. #04.&nbsp; [Transitions, Transformations &amp; Transcendence] Video Essay created in collaboration with NEVE Studio, 2024. https://zzzzzproject.com/TTT-M Sun, 18 Feb 2024 23:44:49 +0000 zzzzz project https://zzzzzproject.com/TTT-M [t—t—t]* <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/998df5d2aa0cb9e6f34378b50daa0eb0fe9b54f0b37b65d1de74c67b558d70d2/neuo.jpg" data-mid="204926956" border="0" src="https://freight.cargo.site/w/1000/i/998df5d2aa0cb9e6f34378b50daa0eb0fe9b54f0b37b65d1de74c67b558d70d2/neuo.jpg" /> <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/30de3a13b0e1738360595a97ea254e70285317e5384fffcafdb43d63cbd0ed1b/C_2.jpg" data-mid="204926958" border="0" src="https://freight.cargo.site/w/1000/i/30de3a13b0e1738360595a97ea254e70285317e5384fffcafdb43d63cbd0ed1b/C_2.jpg" /> <img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/9e870c8494bcf43567dac730c775b136b1bc62b12eb57f6bbd37afa09e5255f2/vyuu.jpg" data-mid="204926955" border="0" src="https://freight.cargo.site/w/1000/i/9e870c8494bcf43567dac730c775b136b1bc62b12eb57f6bbd37afa09e5255f2/vyuu.jpg" /> Fig. #01-03.&nbsp; Cover artworks created for Transmedia Research Institute’s 2024 Open Call ‘Semester of Bits &amp; Atoms’. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Transition, Transformation &amp; Transcendence [T—T—T] is a short visual essay designed for the launch of Transmedia Research Institute's 2024 Open Call "Semester of Bits &amp; Atoms", a new educational program that aims to investigate the human in a post-organic framework. The contribution, indeed, comes from an ongoing speculative research about neural coding, AI &amp; deep visualizations, which will eventually lead to the institution's new visual identity. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; This speculative video was created in conjunction with AI processing — video shots, images, transitions, text and audio were indeed generated through the use of AI, making it the result of a proactive dialogic process between human and artificial intelligence. Fig. #04.&nbsp; [Transitions, Transformations &amp; Transcendence] Video Essay created in collaboration with NEVE Studio, 2024. https://zzzzzproject.com/MESMERICA-L-N-I-3-D Fri, 16 Feb 2024 22:08:26 +0000 zzzzz project https://zzzzzproject.com/MESMERICA-L-N-I-3-D mesmerica l.n.i.-3* <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/3c5380db27a80d75bc1d5beb3140578822cb2d49c38cfd9a6df05ba32d9c382d/Mesmerica-1.jpg" data-mid="204819156" border="0" src="https://freight.cargo.site/w/1000/i/3c5380db27a80d75bc1d5beb3140578822cb2d49c38cfd9a6df05ba32d9c382d/Mesmerica-1.jpg" /> Fig. #01.&nbsp; Archival scan of MESMERICA’s Booster Pack, front view and back with its description and silver seal — Rome, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MESMERICA L.N.I.-3 — the "Dreams, Memories, Ectoplasms, Tales, Nightmares, Chimeras &amp; Hallucunations-Emitting Machine" — is a collection of trading cards developed in occasion of the III Edition of the 'Lab For New Imaginations': an editorial project curated by Irene Angenica from September to December 2024 in Rome as part of MACRO Museum residency program. "The dream machine has broken: Your head is full of images and memories of others. Incomprehensible fragments overlap, nightmares of who-knows-who fill the margins and intertwine with yours. Who wrote down these words that you now hold in your hands? Where do these faceless silhouettes, lost in time, come from? The more you try to remember, the more everything gets mixed up." &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The collection originates from eight individual artist contributions, both visual and textual, which explore different dimensions of dreams. Each booster pack contains five cards that can be exchanged and collected, thus becoming engines of unexpected combinations. <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/284b126cc5e8870093221cb2dabf256c1db26201da53e46fd22fe255bd171189/Mesmerica-2.jpg" data-mid="204819160" border="0" src="https://freight.cargo.site/w/1000/i/284b126cc5e8870093221cb2dabf256c1db26201da53e46fd22fe255bd171189/Mesmerica-2.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/1ee74d64729f154beb9338761ef8302cfd512eb400898a6b57538ddd9dd88db1/Mesmerica-3.jpg" data-mid="204819161" border="0" src="https://freight.cargo.site/w/1000/i/1ee74d64729f154beb9338761ef8302cfd512eb400898a6b57538ddd9dd88db1/Mesmerica-3.jpg" />Fig. #02-03.&nbsp; Archival scan of MESMERICA’s collectible trading cards (one for contributor) / Back view of the cards — Rome, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The cards’ subjects come from distant imaginaries, and together they convey the idea of a curious and alienating assemblage, taking as aesthetic and conceptual references the Dadaist collages and assemblages, the microcosms of the 'boîtes-en-valise', or the 'cabinets of curiosities'. The random and composite set of cards present in each pack thus aims to multiply the possibilities of narration and interpretation, in an unpredictable movement of play-thought. <img width="1024" height="786" width_o="1024" height_o="786" data-src="https://freight.cargo.site/t/original/i/77f78d377db1dcbfa857745fb244c52790130267bf30886d42a1b70c6c7c3b31/WK03.jpg" data-mid="204819797" border="0" src="https://freight.cargo.site/w/1000/i/77f78d377db1dcbfa857745fb244c52790130267bf30886d42a1b70c6c7c3b31/WK03.jpg" /> <img width="1024" height="786" width_o="1024" height_o="786" data-src="https://freight.cargo.site/t/original/i/1deaf204905a5e2a0d3653481d42f4f4bcf1095059d88ad71522c4beaa0ceb07/WK03.jpeg" data-mid="204819708" border="0" src="https://freight.cargo.site/w/1000/i/1deaf204905a5e2a0d3653481d42f4f4bcf1095059d88ad71522c4beaa0ceb07/WK03.jpeg" /> Fig. #04-05.&nbsp; Detail from ‘Cabinet Of Curiosities’, by&nbsp;Johann Georg Hinz (1666) / Ritratto del Museo di Ferrante Imperato a Napoli&nbsp; (Dell'historia naturale, Naples 1599). <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/1cb92a9ff83ddf2ca8ec202e2ddc1fbb1aaced3709b1bdf08b1a9e755eaf5cd5/20231127_162521.jpg" data-mid="204844663" border="0" src="https://freight.cargo.site/w/1000/i/1cb92a9ff83ddf2ca8ec202e2ddc1fbb1aaced3709b1bdf08b1a9e755eaf5cd5/20231127_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/2a48514ab7a8334029f398589a2b3eefa07d33f77b98e6c811df82bce865d252/20231127_1621521.jpg" data-mid="204844662" border="0" src="https://freight.cargo.site/w/1000/i/2a48514ab7a8334029f398589a2b3eefa07d33f77b98e6c811df82bce865d252/20231127_1621521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/cb3028ce2ad5595ab5e68aa0658fb3ecb8a5f45576377be714ec0adac9e04538/20231s127_162521.jpg" data-mid="204844661" border="0" src="https://freight.cargo.site/w/1000/i/cb3028ce2ad5595ab5e68aa0658fb3ecb8a5f45576377be714ec0adac9e04538/20231s127_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/fff45e484720c7a11617a08f52e92a4076d833e1a8ec902d2b9ac3dcb5d3732b/2023112e7_162521.jpg" data-mid="204844660" border="0" src="https://freight.cargo.site/w/1000/i/fff45e484720c7a11617a08f52e92a4076d833e1a8ec902d2b9ac3dcb5d3732b/2023112e7_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/9d423fb4854404d40e1b0783633bf2c91d7e29d9b59d5ad18185baa70cc992fd/202311527_162521.jpg" data-mid="204844659" border="0" src="https://freight.cargo.site/w/1000/i/9d423fb4854404d40e1b0783633bf2c91d7e29d9b59d5ad18185baa70cc992fd/202311527_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/0eaeb7b2df858d906d0b1a850d4d45f5d1448f667908a04eeb37081e958483d6/20231127_1625621.jpg" data-mid="204844658" border="0" src="https://freight.cargo.site/w/1000/i/0eaeb7b2df858d906d0b1a850d4d45f5d1448f667908a04eeb37081e958483d6/20231127_1625621.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/b044c640a99ec192e9cb15b2740a24cadae9d2c97eb2bd0bbd1bc1fce18b2adb/20231127_162821.jpg" data-mid="204844657" border="0" src="https://freight.cargo.site/w/1000/i/b044c640a99ec192e9cb15b2740a24cadae9d2c97eb2bd0bbd1bc1fce18b2adb/20231127_162821.jpg" /> Fig. #07-08.&nbsp; Archival scans of the artworks created for the project, displaying altered cinematic stills. — Rome, 2023. <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/5044028910b0fd4dc7ae7a83d5dc525f371ba17153e50af9a97f67a26fdc847f/d2.jpg" data-mid="204865116" border="0" src="https://freight.cargo.site/w/1000/i/5044028910b0fd4dc7ae7a83d5dc525f371ba17153e50af9a97f67a26fdc847f/d2.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/7f4d16623d948ab6d4b10faaeda4d96a395290f4f37258e1952f7ee3da432a44/d3.jpg" data-mid="204865115" border="0" src="https://freight.cargo.site/w/1000/i/7f4d16623d948ab6d4b10faaeda4d96a395290f4f37258e1952f7ee3da432a44/d3.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/87525261f2e9c2905c1baec9804c4252eb6132eb76b0272a1df175f62f1e8692/d4.jpg" data-mid="204865751" border="0" src="https://freight.cargo.site/w/1000/i/87525261f2e9c2905c1baec9804c4252eb6132eb76b0272a1df175f62f1e8692/d4.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/46a7cec38a10fdd0cd60d6d49c90a70137df78d4af10d26d0f12c9d881e3946e/d5.jpg" data-mid="204865113" border="0" src="https://freight.cargo.site/w/1000/i/46a7cec38a10fdd0cd60d6d49c90a70137df78d4af10d26d0f12c9d881e3946e/d5.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/3319d1fd50811ad7c803e1c9cb70ccf86d37cac538b65b47e98d2c423ab512ae/d1.jpg" data-mid="204865117" border="0" src="https://freight.cargo.site/w/1000/i/3319d1fd50811ad7c803e1c9cb70ccf86d37cac538b65b47e98d2c423ab512ae/d1.jpg" /> Fig. #07-08.&nbsp; INCUBO: (1) La Mutazione; (2) L’Ego; (3) Il Banchetto; (4) Il Presagio; (5) Lo Spauracchio. — Rome, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;In addition to creating the visual design for the project, which was inspired both by the darkness of the night and mesmerism — the act of mechanically inducing dream-like states to the brain — I crafted an individual contribution to the set titled ‘Incubus’, in which I explored the tension between mass media, memory, empty frames and horror with a research across moving pictures. Among the fifteen subjects selected, five stills were finally printed as cards, showcasing faceless versions of their cinematic counterparts. The characters were all erased with white paint and as such became innocuous, mimicking our psyche’s defense mechanisms — just as it happens while waking up from a twisted dream. <img width="1300" height="1080" width_o="1300" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0f0900fc7330cdb7f0c08b4b59644bb98010eea8f25f1dccf8c8939d24b203a7/17.jpg" data-mid="204819626" border="0" src="https://freight.cargo.site/w/1000/i/0f0900fc7330cdb7f0c08b4b59644bb98010eea8f25f1dccf8c8939d24b203a7/17.jpg" /> Fig. #07-08.&nbsp; People trading cards from the launch event of MESMERICA at Circolo Kokè in Rome. Photo Credits: Stella Liantonio, 2023. https://zzzzzproject.com/MESMERICA-L-N-I-3-M Sun, 18 Feb 2024 23:49:03 +0000 zzzzz project https://zzzzzproject.com/MESMERICA-L-N-I-3-M mesmerica l.n.i.-3* <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/3c5380db27a80d75bc1d5beb3140578822cb2d49c38cfd9a6df05ba32d9c382d/Mesmerica-1.jpg" data-mid="204928231" border="0" src="https://freight.cargo.site/w/1000/i/3c5380db27a80d75bc1d5beb3140578822cb2d49c38cfd9a6df05ba32d9c382d/Mesmerica-1.jpg" /> Fig. #01.&nbsp; Archival scan of MESMERICA’s Booster Pack, front view and back with its description and silver seal — Rome, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; MESMERICA L.N.I.-3 — the "Dreams, Memories, Ectoplasms, Tales, Nightmares, Chimeras &amp; Hallucunations-Emitting Machine" — is a collection of trading cards developed in occasion of the III Edition of the 'Lab For New Imaginations': an editorial project curated by Irene Angenica from September to December 2024 in Rome as part of MACRO Museum residency program. &nbsp; &nbsp; &nbsp; &nbsp; "The dream machine has broken: Your head is full of images and memories of others. Incomprehensible fragments overlap, nightmares of who-knows-who fill the margins and intertwine with yours. Who wrote down these words that you now hold in your hands? Where do these faceless silhouettes, lost in time, come from? The more you try to remember, the more everything gets mixed up." &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The collection originates from eight individual artist contributions, both visual and textual, which explore different dimensions of dreams. Each booster pack contains five cards that can be exchanged and collected, thus becoming engines of unexpected combinations. <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/284b126cc5e8870093221cb2dabf256c1db26201da53e46fd22fe255bd171189/Mesmerica-2.jpg" data-mid="204928232" border="0" src="https://freight.cargo.site/w/1000/i/284b126cc5e8870093221cb2dabf256c1db26201da53e46fd22fe255bd171189/Mesmerica-2.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/1ee74d64729f154beb9338761ef8302cfd512eb400898a6b57538ddd9dd88db1/Mesmerica-3.jpg" data-mid="204928233" border="0" src="https://freight.cargo.site/w/1000/i/1ee74d64729f154beb9338761ef8302cfd512eb400898a6b57538ddd9dd88db1/Mesmerica-3.jpg" />Fig. #02-03.&nbsp; Archival scan of MESMERICA’s collectible trading cards (one for contributor) / Back view of the cards — Rome, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The cards’ subjects come from distant imaginaries, and together they convey the idea of a curious and alienating assemblage, taking as aesthetic and conceptual references the Dadaist collages and assemblages, the microcosms of the 'boîtes-en-valise', or the 'cabinets of curiosities'. The random and composite set of cards present in each pack thus aims to multiply the possibilities of narration and interpretation, in an unpredictable movement of play-thought. <img width="1024" height="786" width_o="1024" height_o="786" data-src="https://freight.cargo.site/t/original/i/77f78d377db1dcbfa857745fb244c52790130267bf30886d42a1b70c6c7c3b31/WK03.jpg" data-mid="204928250" border="0" src="https://freight.cargo.site/w/1000/i/77f78d377db1dcbfa857745fb244c52790130267bf30886d42a1b70c6c7c3b31/WK03.jpg" /> <img width="1024" height="786" width_o="1024" height_o="786" data-src="https://freight.cargo.site/t/original/i/1deaf204905a5e2a0d3653481d42f4f4bcf1095059d88ad71522c4beaa0ceb07/WK03.jpeg" data-mid="204928244" border="0" src="https://freight.cargo.site/w/1000/i/1deaf204905a5e2a0d3653481d42f4f4bcf1095059d88ad71522c4beaa0ceb07/WK03.jpeg" /> Fig. #04-05.&nbsp; Detail from ‘Cabinet Of Curiosities’, by&nbsp;Johann Georg Hinz (1666) / Ritratto del Museo di Ferrante Imperato a Napoli&nbsp; (Dell'historia naturale, Naples 1599). <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/1cb92a9ff83ddf2ca8ec202e2ddc1fbb1aaced3709b1bdf08b1a9e755eaf5cd5/20231127_162521.jpg" data-mid="204928269" border="0" src="https://freight.cargo.site/w/1000/i/1cb92a9ff83ddf2ca8ec202e2ddc1fbb1aaced3709b1bdf08b1a9e755eaf5cd5/20231127_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/2a48514ab7a8334029f398589a2b3eefa07d33f77b98e6c811df82bce865d252/20231127_1621521.jpg" data-mid="204928268" border="0" src="https://freight.cargo.site/w/1000/i/2a48514ab7a8334029f398589a2b3eefa07d33f77b98e6c811df82bce865d252/20231127_1621521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/cb3028ce2ad5595ab5e68aa0658fb3ecb8a5f45576377be714ec0adac9e04538/20231s127_162521.jpg" data-mid="204928267" border="0" src="https://freight.cargo.site/w/1000/i/cb3028ce2ad5595ab5e68aa0658fb3ecb8a5f45576377be714ec0adac9e04538/20231s127_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/fff45e484720c7a11617a08f52e92a4076d833e1a8ec902d2b9ac3dcb5d3732b/2023112e7_162521.jpg" data-mid="204928266" border="0" src="https://freight.cargo.site/w/1000/i/fff45e484720c7a11617a08f52e92a4076d833e1a8ec902d2b9ac3dcb5d3732b/2023112e7_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/9d423fb4854404d40e1b0783633bf2c91d7e29d9b59d5ad18185baa70cc992fd/202311527_162521.jpg" data-mid="204928265" border="0" src="https://freight.cargo.site/w/1000/i/9d423fb4854404d40e1b0783633bf2c91d7e29d9b59d5ad18185baa70cc992fd/202311527_162521.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/0eaeb7b2df858d906d0b1a850d4d45f5d1448f667908a04eeb37081e958483d6/20231127_1625621.jpg" data-mid="204928264" border="0" src="https://freight.cargo.site/w/1000/i/0eaeb7b2df858d906d0b1a850d4d45f5d1448f667908a04eeb37081e958483d6/20231127_1625621.jpg" /> <img width="4251" height="2990" width_o="4251" height_o="2990" data-src="https://freight.cargo.site/t/original/i/b044c640a99ec192e9cb15b2740a24cadae9d2c97eb2bd0bbd1bc1fce18b2adb/20231127_162821.jpg" data-mid="204928263" border="0" src="https://freight.cargo.site/w/1000/i/b044c640a99ec192e9cb15b2740a24cadae9d2c97eb2bd0bbd1bc1fce18b2adb/20231127_162821.jpg" /> Fig. #07-08.&nbsp; Archival scans of the artworks created for the project, displaying altered cinematic stills. — Rome, 2023. <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/5044028910b0fd4dc7ae7a83d5dc525f371ba17153e50af9a97f67a26fdc847f/d2.jpg" data-mid="204928284" border="0" src="https://freight.cargo.site/w/1000/i/5044028910b0fd4dc7ae7a83d5dc525f371ba17153e50af9a97f67a26fdc847f/d2.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/7f4d16623d948ab6d4b10faaeda4d96a395290f4f37258e1952f7ee3da432a44/d3.jpg" data-mid="204928283" border="0" src="https://freight.cargo.site/w/1000/i/7f4d16623d948ab6d4b10faaeda4d96a395290f4f37258e1952f7ee3da432a44/d3.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/87525261f2e9c2905c1baec9804c4252eb6132eb76b0272a1df175f62f1e8692/d4.jpg" data-mid="204928287" border="0" src="https://freight.cargo.site/w/1000/i/87525261f2e9c2905c1baec9804c4252eb6132eb76b0272a1df175f62f1e8692/d4.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/46a7cec38a10fdd0cd60d6d49c90a70137df78d4af10d26d0f12c9d881e3946e/d5.jpg" data-mid="204928281" border="0" src="https://freight.cargo.site/w/1000/i/46a7cec38a10fdd0cd60d6d49c90a70137df78d4af10d26d0f12c9d881e3946e/d5.jpg" /> <img width="1920" height="1279" width_o="1920" height_o="1279" data-src="https://freight.cargo.site/t/original/i/3319d1fd50811ad7c803e1c9cb70ccf86d37cac538b65b47e98d2c423ab512ae/d1.jpg" data-mid="204928285" border="0" src="https://freight.cargo.site/w/1000/i/3319d1fd50811ad7c803e1c9cb70ccf86d37cac538b65b47e98d2c423ab512ae/d1.jpg" /> Fig. #07-08.&nbsp; INCUBO: (1) La Mutazione; (2) L’Ego; (3) Il Banchetto; (4) Il Presagio; (5) Lo Spauracchio. — Rome, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;In addition to creating the visual design for the project, which was inspired both by the darkness of the night and mesmerism — the act of mechanically inducing dream-like states to the brain — I crafted an individual contribution to the set titled ‘Incubus’, in which I explored the tension between mass media, memory, empty frames and horror with a research across moving pictures. Among the fifteen subjects selected, five stills were finally printed as cards, showcasing faceless versions of their cinematic counterparts. The characters were all erased with white paint and as such became innocuous, mimicking our psyche’s defense mechanisms — just as it happens while waking up from a twisted dream. <img width="1300" height="1080" width_o="1300" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0f0900fc7330cdb7f0c08b4b59644bb98010eea8f25f1dccf8c8939d24b203a7/17.jpg" data-mid="204928239" border="0" src="https://freight.cargo.site/w/1000/i/0f0900fc7330cdb7f0c08b4b59644bb98010eea8f25f1dccf8c8939d24b203a7/17.jpg" /> Fig. #07-08.&nbsp; People trading cards from the launch event of MESMERICA at Circolo Kokè in Rome. Photo Credits: Stella Liantonio, 2023. https://zzzzzproject.com/Uncondemned-Entrails-D Fri, 16 Feb 2024 19:58:10 +0000 zzzzz project https://zzzzzproject.com/Uncondemned-Entrails-D uncondemned entrails* <img width="2362" height="1577" width_o="2362" height_o="1577" data-src="https://freight.cargo.site/t/original/i/24c01604605ac401e8f4968c880787fb9a4e76f1f08aa9de96a104d914245e23/11-copia.jpg" data-mid="204812421" border="0" src="https://freight.cargo.site/w/1000/i/24c01604605ac401e8f4968c880787fb9a4e76f1f08aa9de96a104d914245e23/11-copia.jpg" /> Fig. #01.&nbsp; Installation view at Matadero (Madrid) for Uncondemned Entrails. Photo credits: Lisa Mazenauer, 2023. &nbsp; &nbsp; &nbsp; &nbsp; ‘Uncondemned Entrails’ investigates the abusive history of slaughters and judgement of dead animals’ carcasses inside of abattoirs: a series of brutal post-mortem practices that are still being perpetrated nowdays for the satisfaction of human consumers. The project addresses — and recontextualizes — the relevance of Aruspicina in utilizing theoretical models of animal organs as tools to expose and narrate ghostly paradigms of death and violence towards bodies and corpses, along with the implications such patterns have on the lives of human- and other-than-human-kinds. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In doing so, the researcher becomes the haruspex itself who, by designing and displaying postnatural entrails to a public, unveils histories of extractive abuse perpetrated by humans upon other organisms. The project is part of the collective exhibition “we?” curated by the Institute for Postnatural Studies at Matadero’s Intermediae Lab in Madrid, in occasion of the first Postnatural Independent Program.<img width="1920" height="2351" width_o="1920" height_o="2351" data-src="https://freight.cargo.site/t/original/i/67269a3d812af267d77eedf06d43bd1e5468f295ca25f333ff45f11b1f80d44d/CN-104-Attributed-to-Casper-Netscher-The-Slaughterd-Pig.jpg" data-mid="204814121" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/67269a3d812af267d77eedf06d43bd1e5468f295ca25f333ff45f11b1f80d44d/CN-104-Attributed-to-Casper-Netscher-The-Slaughterd-Pig.jpg" />Fig. #02.&nbsp; Slaughtered Pig. Painting by Caspar Netscher — The Hague, 1684 . <img width="1180" height="451" width_o="1180" height_o="451" data-src="https://freight.cargo.site/t/original/i/dfa8f3a86bb14c5e572baa859dfb6d0f9e5c82c6a64909b11e4e8d547cfef96b/Schermata-2023-09-03-alle-15.02.31.png" data-mid="204814279" border="0" src="https://freight.cargo.site/w/1000/i/dfa8f3a86bb14c5e572baa859dfb6d0f9e5c82c6a64909b11e4e8d547cfef96b/Schermata-2023-09-03-alle-15.02.31.png" />Fig. #03.&nbsp; Project for a slaughterhouse and livestock market in Madrid. Luis Bellido y Gonzáles, 1914. For more than six decades, between 1924 and 1996, around 400 and 500 oxen and 5000 sheep were killed every day in this space. <img width="1904" height="1242" width_o="1904" height_o="1242" data-src="https://freight.cargo.site/t/original/i/1eae35d62c7db57603ee7e8b2ab506f82ee985030c86262b40dbaa993ae8f470/Screenshot-2023-10-07-alle-12.26.55.jpg" data-mid="204814517" border="0" src="https://freight.cargo.site/w/1000/i/1eae35d62c7db57603ee7e8b2ab506f82ee985030c86262b40dbaa993ae8f470/Screenshot-2023-10-07-alle-12.26.55.jpg" /> <img width="1904" height="1242" width_o="1904" height_o="1242" data-src="https://freight.cargo.site/t/original/i/c81297e365523801d122759b822069076beeaa63878b0579e59b205e07f397b8/Screenshot-2023-10-07-alle-12.26.55.png" data-mid="204814322" border="0" src="https://freight.cargo.site/w/1000/i/c81297e365523801d122759b822069076beeaa63878b0579e59b205e07f397b8/Screenshot-2023-10-07-alle-12.26.55.png" /> Fig. #04-05.&nbsp; Archive images picturing animal slaughter inside of Matadero (Madrid), 1972. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Aruspicina is the art of reading the entrails of dead animals as a divinatory practice to understand the future. This gruesome process was a performative ritual developed by the Etruscans, a population that lived in Italy between the 9th and the 1st Century B.C., who believed that due to the close relationship between the macro- and the microcosm, the distribution of the celestial vault – which regulated their political system – was also reflected on the Earth’s individual elements, both living and non-living.&nbsp;But what do death and dead organisms have to do with politics in a postnatural ecosystem?&nbsp; <img width="4039" height="2615" width_o="4039" height_o="2615" data-src="https://freight.cargo.site/t/original/i/2d069badc41ab854e2d0607046e0da34f741a122f76e867f7a580e06a207d179/Estrucan_bronze_model_of_liver_Wellcome_M0015608-copia.jpeg" data-mid="204814526" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/2d069badc41ab854e2d0607046e0da34f741a122f76e867f7a580e06a207d179/Estrucan_bronze_model_of_liver_Wellcome_M0015608-copia.jpeg" /><img width="2379" height="1748" width_o="2379" height_o="1748" data-src="https://freight.cargo.site/t/original/i/5ab6b6216f05a1ebddaf4017eee96754adf70ce127cd16fa1c37789bb6628cf1/geometrico.jpg" data-mid="204814046" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/5ab6b6216f05a1ebddaf4017eee96754adf70ce127cd16fa1c37789bb6628cf1/geometrico.jpg" />Fig. #06-07.&nbsp; Bronze model of the Fegato Di Piacenza. Palazzo Farnese, circa III-II Century BC. /&nbsp;Digital reproduction of a fictional animal organ with its considerable geometries, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Donna Haraway eviscerates this concept while describing the Chthulucene, a new era in which all critters live and “die together”, as if it was an other form of being (interdependently) rather than as a form of non-existence: a way to intertwine and mold the fleshes between different species in a perpetual process of co-generation. If our human bodies are shared with the world, if there are no boundaries between humans and other species, then our-body politics become every-body politics (and viceversa). And if we change the way we understand and administrate dead bodies, we can also change how we conceive and manage the living ones. <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b68079a2acf26ad21fbd854c84518600e8bd036c184d8a6f2ec94ee89813b99a/IMG_7860.JPG" data-mid="204813165" border="0" src="https://freight.cargo.site/w/1000/i/b68079a2acf26ad21fbd854c84518600e8bd036c184d8a6f2ec94ee89813b99a/IMG_7860.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/9a916854c10d68559b231ef8297a1e81496927cdc9fb556b4d34cd799531fba6/IMG_7897.JPG" data-mid="204815228" border="0" src="https://freight.cargo.site/w/1000/i/9a916854c10d68559b231ef8297a1e81496927cdc9fb556b4d34cd799531fba6/IMG_7897.JPG" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/8fccd3124741ea3749dcca1834e3c532b47ae17bb0784725caf2da4ebba0c070/IMG_7831.JPG" data-mid="204816293" border="0" src="https://freight.cargo.site/w/1000/i/8fccd3124741ea3749dcca1834e3c532b47ae17bb0784725caf2da4ebba0c070/IMG_7831.JPG" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/773a58efc3b87596473d2c572aa84a7c984795d2b05b0f66e330b455aa7aab24/IMG_7900.JPG" data-mid="204816295" border="0" src="https://freight.cargo.site/w/1000/i/773a58efc3b87596473d2c572aa84a7c984795d2b05b0f66e330b455aa7aab24/IMG_7900.JPG" /> Fig. #08-11.&nbsp; Installation view of the three sculptures displaying ‘perfected’ models of animal organs: a cow uterus, a section of a pig’s liver and the digestive tract of a lamb / Model of a healthy cow uterus placed upon a slaughterhouse table in Matadero (Madrid), 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The installation exhibited at Matadero displays three geometrical reproductions of animal organs — a cow uterus; a sectioned portion of a pig’s liver; a lamb’s digestive tract — designed along the line of the “Fegato di Piacenza”, a bronze model of sheep’s liver with Etruscan inscriptions, used by haruspex priests to perform divination practices. The organs on display are presented as ‘perfected’ copies of the original animal entrails: designed as speculative tools with which contemporary haruspices (slaughterhouse laborers) are enabled to judge dead carcasses of animals during routine meat inspections, just as stated in FAO’s 1995 ‘Manual of Meat Inspection for Developing Countries’: &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “Routine postmortem examination of a carcass should be carried out as soon as possible after the completion of dressing in order to detect any abnormalities so that products only conditionally fit for human consumption are not passed as food. [...] Trimming or condemnation may involve: (1) any portion of a carcass or a carcass that is abnormal or diseased; (2) any portion of a carcass or a carcass affected with a condition that may present a hazard to human health; (3) any portion of a carcass or a carcass that may be repulsive to the consumer.”<img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/529d24eedb055aaf39eb69def3c81729e8887bea1aa5d122033e2a597a0bc9ac/IMG_8071.JPG" data-mid="204813208" border="0" src="https://freight.cargo.site/w/1000/i/529d24eedb055aaf39eb69def3c81729e8887bea1aa5d122033e2a597a0bc9ac/IMG_8071.JPG" /> <img width="4727" height="3150" width_o="4727" height_o="3150" data-src="https://freight.cargo.site/t/original/i/e0885055daa285dd16d174181eebc6e36efff78541584a5c42e6a4265be0cdf6/IMG_8087.jpg" data-mid="204813362" border="0" src="https://freight.cargo.site/w/1000/i/e0885055daa285dd16d174181eebc6e36efff78541584a5c42e6a4265be0cdf6/IMG_8087.jpg" /> Fig. #12-13.&nbsp; Additional shots of the three sculptures displaying ‘perfected’ models of animal organs: a cow uterus, a section of a pig’s liver and the digestive tract of a lamb 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In occasion of the public program on July 14th, 2023 the central stage at Intermediae Lab hosted my lecture “Uncondemned Entrails”, which was supposed to work as a complementary piece to the installation. The panel was designed as a performative talk in which the speaker impersonated, both in the way of dressing and acting, the role of a modern haruspex from the slaughterhouse working class. The performance aimed to re-evoke past abusive processes and judgement of animals’ corpses, starting from the three sculptures displayed in front of the main stage. After declaring a selection of guidelines from FAO’s ‘Manual’, the performance concluded with an extract from Bataille’s Erotism (1957) about the sacrificial violence of abattoirs, characterized by “[...] atmospheres of surging carnal life”.&nbsp; Link to VIMEO︎︎︎. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/32a4534de5885ef89706857d55eca084fd8b373fe568f0d706158f1e85c3cd96/5.jpg" data-mid="204813109" border="0" src="https://freight.cargo.site/w/1000/i/32a4534de5885ef89706857d55eca084fd8b373fe568f0d706158f1e85c3cd96/5.jpg" />Fig. #14.&nbsp; Uncondemned Entrails performance/talk footage from “we?”’s public program. Photo credits: Sol Archer, 2023. https://zzzzzproject.com/Uncondemned-Entrails-M Sun, 18 Feb 2024 23:50:03 +0000 zzzzz project https://zzzzzproject.com/Uncondemned-Entrails-M uncondemned entrails* <img width="2362" height="1577" width_o="2362" height_o="1577" data-src="https://freight.cargo.site/t/original/i/24c01604605ac401e8f4968c880787fb9a4e76f1f08aa9de96a104d914245e23/11-copia.jpg" data-mid="204928347" border="0" src="https://freight.cargo.site/w/1000/i/24c01604605ac401e8f4968c880787fb9a4e76f1f08aa9de96a104d914245e23/11-copia.jpg" /> Fig. #01.&nbsp; Installation view at Matadero (Madrid) for Uncondemned Entrails. Photo credits: Lisa Mazenauer, 2023. &nbsp; &nbsp; &nbsp; &nbsp; ‘Uncondemned Entrails’ investigates the abusive history of slaughters and judgement of dead animals’ carcasses inside of abattoirs: a series of brutal post-mortem practices that are still being perpetrated nowdays for the satisfaction of human consumers. The project addresses — and recontextualizes — the relevance of Aruspicina in utilizing theoretical models of animal organs as tools to expose and narrate ghostly paradigms of death and violence towards bodies and corpses, along with the implications such patterns have on the lives of human- and other-than-human-kinds. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In doing so, the researcher becomes the haruspex itself who, by designing and displaying postnatural entrails to a public, unveils histories of extractive abuse perpetrated by humans upon other organisms. The project is part of the collective exhibition “we?” curated by the Institute for Postnatural Studies at Matadero’s Intermediae Lab in Madrid, in occasion of the first Postnatural Independent Program.<img width="1920" height="2351" width_o="1920" height_o="2351" data-src="https://freight.cargo.site/t/original/i/67269a3d812af267d77eedf06d43bd1e5468f295ca25f333ff45f11b1f80d44d/CN-104-Attributed-to-Casper-Netscher-The-Slaughterd-Pig.jpg" data-mid="204928382" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/67269a3d812af267d77eedf06d43bd1e5468f295ca25f333ff45f11b1f80d44d/CN-104-Attributed-to-Casper-Netscher-The-Slaughterd-Pig.jpg" />Fig. #02.&nbsp; Slaughtered Pig. Painting by Caspar Netscher — The Hague, 1684 . <img width="1180" height="451" width_o="1180" height_o="451" data-src="https://freight.cargo.site/t/original/i/dfa8f3a86bb14c5e572baa859dfb6d0f9e5c82c6a64909b11e4e8d547cfef96b/Schermata-2023-09-03-alle-15.02.31.png" data-mid="204928384" border="0" src="https://freight.cargo.site/w/1000/i/dfa8f3a86bb14c5e572baa859dfb6d0f9e5c82c6a64909b11e4e8d547cfef96b/Schermata-2023-09-03-alle-15.02.31.png" />Fig. #03.&nbsp; Project for a slaughterhouse and livestock market in Madrid. Luis Bellido y Gonzáles, 1914. For more than six decades, between 1924 and 1996, around 400 and 500 oxen and 5000 sheep were killed every day in this space. <img width="1904" height="1242" width_o="1904" height_o="1242" data-src="https://freight.cargo.site/t/original/i/1eae35d62c7db57603ee7e8b2ab506f82ee985030c86262b40dbaa993ae8f470/Screenshot-2023-10-07-alle-12.26.55.jpg" data-mid="204928390" border="0" src="https://freight.cargo.site/w/1000/i/1eae35d62c7db57603ee7e8b2ab506f82ee985030c86262b40dbaa993ae8f470/Screenshot-2023-10-07-alle-12.26.55.jpg" /> <img width="1904" height="1242" width_o="1904" height_o="1242" data-src="https://freight.cargo.site/t/original/i/c81297e365523801d122759b822069076beeaa63878b0579e59b205e07f397b8/Screenshot-2023-10-07-alle-12.26.55.png" data-mid="204928386" border="0" src="https://freight.cargo.site/w/1000/i/c81297e365523801d122759b822069076beeaa63878b0579e59b205e07f397b8/Screenshot-2023-10-07-alle-12.26.55.png" /> Fig. #04-05.&nbsp; Archive images picturing animal slaughter inside of Matadero (Madrid), 1972. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Aruspicina is the art of reading the entrails of dead animals as a divinatory practice to understand the future. This gruesome process was a performative ritual developed by the Etruscans, a population that lived in Italy between the 9th and the 1st Century B.C., who believed that due to the close relationship between the macro- and the microcosm, the distribution of the celestial vault – which regulated their political system – was also reflected on the Earth’s individual elements, both living and non-living.&nbsp;But what do death and dead organisms have to do with politics in a postnatural ecosystem?&nbsp; <img width="4039" height="2615" width_o="4039" height_o="2615" data-src="https://freight.cargo.site/t/original/i/2d069badc41ab854e2d0607046e0da34f741a122f76e867f7a580e06a207d179/Estrucan_bronze_model_of_liver_Wellcome_M0015608-copia.jpeg" data-mid="204928391" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/2d069badc41ab854e2d0607046e0da34f741a122f76e867f7a580e06a207d179/Estrucan_bronze_model_of_liver_Wellcome_M0015608-copia.jpeg" /><img width="2379" height="1748" width_o="2379" height_o="1748" data-src="https://freight.cargo.site/t/original/i/5ab6b6216f05a1ebddaf4017eee96754adf70ce127cd16fa1c37789bb6628cf1/geometrico.jpg" data-mid="204928380" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/5ab6b6216f05a1ebddaf4017eee96754adf70ce127cd16fa1c37789bb6628cf1/geometrico.jpg" />Fig. #06-07.&nbsp; Bronze model of the Fegato Di Piacenza. Palazzo Farnese, circa III-II Century BC. /&nbsp;Digital reproduction of a fictional animal organ with its considerable geometries, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Donna Haraway eviscerates this concept while describing the Chthulucene, a new era in which all critters live and “die together”, as if it was an other form of being (interdependently) rather than as a form of non-existence: a way to intertwine and mold the fleshes between different species in a perpetual process of co-generation. If our human bodies are shared with the world, if there are no boundaries between humans and other species, then our-body politics become every-body politics (and viceversa). And if we change the way we understand and administrate dead bodies, we can also change how we conceive and manage the living ones. <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b68079a2acf26ad21fbd854c84518600e8bd036c184d8a6f2ec94ee89813b99a/IMG_7860.JPG" data-mid="204928358" border="0" src="https://freight.cargo.site/w/1000/i/b68079a2acf26ad21fbd854c84518600e8bd036c184d8a6f2ec94ee89813b99a/IMG_7860.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/9a916854c10d68559b231ef8297a1e81496927cdc9fb556b4d34cd799531fba6/IMG_7897.JPG" data-mid="204928392" border="0" src="https://freight.cargo.site/w/1000/i/9a916854c10d68559b231ef8297a1e81496927cdc9fb556b4d34cd799531fba6/IMG_7897.JPG" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/8fccd3124741ea3749dcca1834e3c532b47ae17bb0784725caf2da4ebba0c070/IMG_7831.JPG" data-mid="204928400" border="0" src="https://freight.cargo.site/w/1000/i/8fccd3124741ea3749dcca1834e3c532b47ae17bb0784725caf2da4ebba0c070/IMG_7831.JPG" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/773a58efc3b87596473d2c572aa84a7c984795d2b05b0f66e330b455aa7aab24/IMG_7900.JPG" data-mid="204928401" border="0" src="https://freight.cargo.site/w/1000/i/773a58efc3b87596473d2c572aa84a7c984795d2b05b0f66e330b455aa7aab24/IMG_7900.JPG" /> Fig. #08-11.&nbsp; Installation view of the three sculptures displaying ‘perfected’ models of animal organs: a cow uterus, a section of a pig’s liver and the digestive tract of a lamb / Model of a healthy cow uterus placed upon a slaughterhouse table in Matadero (Madrid), 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The installation exhibited at Matadero displays three geometrical reproductions of animal organs — a cow uterus; a sectioned portion of a pig’s liver; a lamb’s digestive tract — designed along the line of the “Fegato di Piacenza”, a bronze model of sheep’s liver with Etruscan inscriptions, used by haruspex priests to perform divination practices. The organs on display are presented as ‘perfected’ copies of the original animal entrails: designed as speculative tools with which contemporary haruspices (slaughterhouse laborers) are enabled to judge dead carcasses of animals during routine meat inspections, just as stated in FAO’s 1995 ‘Manual of Meat Inspection for Developing Countries’: &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “Routine postmortem examination of a carcass should be carried out as soon as possible after the completion of dressing in order to detect any abnormalities so that products only conditionally fit for human consumption are not passed as food. [...] Trimming or condemnation may involve: (1) any portion of a carcass or a carcass that is abnormal or diseased; (2) any portion of a carcass or a carcass affected with a condition that may present a hazard to human health; (3) any portion of a carcass or a carcass that may be repulsive to the consumer.”<img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/529d24eedb055aaf39eb69def3c81729e8887bea1aa5d122033e2a597a0bc9ac/IMG_8071.JPG" data-mid="204928362" border="0" src="https://freight.cargo.site/w/1000/i/529d24eedb055aaf39eb69def3c81729e8887bea1aa5d122033e2a597a0bc9ac/IMG_8071.JPG" /> <img width="4727" height="3150" width_o="4727" height_o="3150" data-src="https://freight.cargo.site/t/original/i/e0885055daa285dd16d174181eebc6e36efff78541584a5c42e6a4265be0cdf6/IMG_8087.jpg" data-mid="204928364" border="0" src="https://freight.cargo.site/w/1000/i/e0885055daa285dd16d174181eebc6e36efff78541584a5c42e6a4265be0cdf6/IMG_8087.jpg" /> Fig. #12-13.&nbsp; Additional shots of the three sculptures displaying ‘perfected’ models of animal organs: a cow uterus, a section of a pig’s liver and the digestive tract of a lamb 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In occasion of the public program on July 14th, 2023 the central stage at Intermediae Lab hosted my lecture “Uncondemned Entrails”, which was supposed to work as a complementary piece to the installation. The panel was designed as a performative talk in which the speaker impersonated, both in the way of dressing and acting, the role of a modern haruspex from the slaughterhouse working class. The performance aimed to re-evoke past abusive processes and judgement of animals’ corpses, starting from the three sculptures displayed in front of the main stage. After declaring a selection of guidelines from FAO’s ‘Manual’, the performance concluded with an extract from Bataille’s Erotism (1957) about the sacrificial violence of abattoirs, characterized by “[...] atmospheres of surging carnal life”.&nbsp; Link to VIMEO︎︎︎. <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/32a4534de5885ef89706857d55eca084fd8b373fe568f0d706158f1e85c3cd96/5.jpg" data-mid="204928356" border="0" src="https://freight.cargo.site/w/1000/i/32a4534de5885ef89706857d55eca084fd8b373fe568f0d706158f1e85c3cd96/5.jpg" />Fig. #14.&nbsp; Uncondemned Entrails performance/talk footage from “we?”’s public program. Photo credits: Sol Archer, 2023. https://zzzzzproject.com/O-S-C-D Fri, 16 Feb 2024 18:35:40 +0000 zzzzz project https://zzzzzproject.com/O-S-C-D o—s—c* <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/dbd1d406b6e204f874d9945b5d774aaf33c72cb0379d4aef88561b227e0256d5/1.png" data-mid="204811609" border="0" src="https://freight.cargo.site/w/1000/i/dbd1d406b6e204f874d9945b5d774aaf33c72cb0379d4aef88561b227e0256d5/1.png" />Fig. #01.&nbsp; Landscape I — view of the organism’s insides before its digestion of contents, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; What is the link between human, non-human and more-than-human? What kind of chimeric creatures lie at the intersection of all species? How can an organism grow and evolve in the digital realm? These are some of the questions that oriented an antidisciplinary research process focused on cultural and scientific knowledge about dark queer matter and creatures, aimed at defining what an “organism-without-a-body” (Organismus—Sine–Corpore) could look like, how it could act like, and how it could process informations while expanding its undetermined limbs across the cybernetic landscape. This investigation’s findings amalgamated into Transmedia Research Institute’s visual identity. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Among the main references that catalyzed such an unusual concept – such as Giger’s hybrid systems and Cronenberg’s mutant bodies – the most relevant has been Carpenter’s “Thing”: an alien creature that replicates human data and infiltrates across their spaces and communities in order to replace them and steal their parasitic role. The thing has, in fact, no proper shape by itself but rather lives on feeding upon other creatures.&nbsp; <img width="2240" height="1436" width_o="2240" height_o="1436" data-src="https://freight.cargo.site/t/original/i/6208e69c41291a2f4dfeeb87297d1c8b5735e447d141bf87b94aa00f73a2c7b5/220613_r405ddd38.jpg" data-mid="204808822" border="0" src="https://freight.cargo.site/w/1000/i/6208e69c41291a2f4dfeeb87297d1c8b5735e447d141bf87b94aa00f73a2c7b5/220613_r405ddd38.jpg" /> <img width="2240" height="1436" width_o="2240" height_o="1436" data-src="https://freight.cargo.site/t/original/i/f3cf4f4245db26e562832736210de493bf226e0baccbee6310b2acaff3b6ade6/220613_r4gg0538.jpg" data-mid="204808645" border="0" src="https://freight.cargo.site/w/1000/i/f3cf4f4245db26e562832736210de493bf226e0baccbee6310b2acaff3b6ade6/220613_r4gg0538.jpg" /> Fig. #02-03.&nbsp; The “E—G—G”. Variations on an AI–generated visual essay about the O—S—C genesis, 2023. The artworks are extracted from a pool of over 200 experimental visualizations coming from an intense prompting process. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Following the same path, the “organism” had to live and evolve by inhabiting multiple virtual landscapes and constantly eating and digesting new contents. It had to replicate data, bits, pixels, skins, sounds, interactions, textures, technologies, frameworks and lymphs. The organism replicates human tissues, displaying them as textures upon its rendered limbs. Its form is unstable, growing and changing as it keeps absorbing and digesting bits of data. Its body is chimeric and embraces queer transmateriality and transmediality. As Karen Barad wonders: “Can we (re)generate what was missing in fleshiness but materially present in virtuality? Can we (re)generate what our bodies sense but cannot yet touch? Can we trans/form, regenerate, dismember, and re- member anew fleshly bodies in their materiality?” (from Transmaterialities, 2015). <img width="2430" height="1620" width_o="2430" height_o="1620" data-src="https://freight.cargo.site/t/original/i/a14baf25fc4cc508c1d30e305e3e59269025a033354749996cd24de9cf4a2265/OOSSCC_huge.jpg" data-mid="204807335" border="0" src="https://freight.cargo.site/w/1000/i/a14baf25fc4cc508c1d30e305e3e59269025a033354749996cd24de9cf4a2265/OOSSCC_huge.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/629f47ead9173b7310f06ab0a2d0035745c72be89b60f6d954dcf3b34ea30e8d/2.png" data-mid="204811606" border="0" src="https://freight.cargo.site/w/1000/i/629f47ead9173b7310f06ab0a2d0035745c72be89b60f6d954dcf3b34ea30e8d/2.png" /> Fig. #04-05.&nbsp; Visualization of the O—S—C taking shape, displaying the totality of its organs / Landscape II — alternative view of the organism’s insides before its digestion of contents, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Transmedia Research Institute’s website is a cyber-lymphatic system: a virtual framework in which the institute-organism itself takes shape. By exploring its digital tissues, a brutalist brain in the form of a console manifests across the interface and responds to the inputs provided by the visitor. This modality of display works as a real-time dissection of the platform in which the digital entrails are left open as windows, and coding prompts run across them like blood pumping through the veins. The opening screen on the website showcases the genesis of the organism, while as the navigation process gets to its core, the platform reveals both its contents and its prompts.︎︎︎ &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; On social platforms, instead, the O—S—C tries to project its physical shape by absorbing and digesting images, videos, sounds, texts and other contents, and thus showing the product of the dialogic, “symbiotic” process between the AI’s and human’s choices. <img width="828" height="2025" width_o="828" height_o="2025" data-src="https://freight.cargo.site/t/original/i/c8c53ff2bf6c6843da3f3f90cabe0d08d5d8a3901c794c29ffc62821c1e693e7/trans111.jpg" data-mid="204811379" border="0" data-scale="36" src="https://freight.cargo.site/w/828/i/c8c53ff2bf6c6843da3f3f90cabe0d08d5d8a3901c794c29ffc62821c1e693e7/trans111.jpg" /> Fig. #06.&nbsp; Visual Identity, 2023. The digital design for Instagram works as a cluster of contents digested and synthesized into visuals by the “organism-without-a-body”. <img width="1600" height="1202" width_o="1600" height_o="1202" data-src="https://freight.cargo.site/t/original/i/152e5104b077d31667080c97e19203f276e1c10d03c830924c02dec040e6a40c/MM_Laptop_LT-GRD-06.jpg" data-mid="204809920" border="0" src="https://freight.cargo.site/w/1000/i/152e5104b077d31667080c97e19203f276e1c10d03c830924c02dec040e6a40c/MM_Laptop_LT-GRD-06.jpg" /> Fig. #07.&nbsp; Display of Transmedia Research Institute’s website opening showcasing the visual genesis of the O—S—C, 2023. The images that appear on the screen are willingly selected by an Artificial Intelligence and change every time; the same AI also highlights details and data of interest on each image as the human user is scrolling. https://zzzzzproject.com/O-S-C-M Sun, 18 Feb 2024 23:50:47 +0000 zzzzz project https://zzzzzproject.com/O-S-C-M o—s—c* <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/dbd1d406b6e204f874d9945b5d774aaf33c72cb0379d4aef88561b227e0256d5/1.png" data-mid="204928504" border="0" src="https://freight.cargo.site/w/1000/i/dbd1d406b6e204f874d9945b5d774aaf33c72cb0379d4aef88561b227e0256d5/1.png" />Fig. #01.&nbsp; Landscape I — view of the organism’s insides before its digestion of contents, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; What is the link between human, non-human and more-than-human? What kind of chimeric creatures lie at the intersection of all species? How can an organism grow and evolve in the digital realm? These are some of the questions that oriented an antidisciplinary research process focused on cultural and scientific knowledge about dark queer matter and creatures, aimed at defining what an “organism-without-a-body” (Organismus—Sine–Corpore) could look like, how it could act like, and how it could process informations while expanding its undetermined limbs across the cybernetic landscape. This investigation’s findings amalgamated into Transmedia Research Institute’s visual identity. &nbsp; &nbsp; &nbsp; &nbsp; Among the main references that catalyzed such an unusual concept – such as Giger’s hybrid systems and Cronenberg’s mutant bodies – the most relevant has been Carpenter’s “Thing”: an alien creature that replicates human data and infiltrates across their spaces and communities in order to replace them and steal their parasitic role. The thing has, in fact, no proper shape by itself but rather lives on feeding upon other creatures.&nbsp; <img width="2240" height="1436" width_o="2240" height_o="1436" data-src="https://freight.cargo.site/t/original/i/6208e69c41291a2f4dfeeb87297d1c8b5735e447d141bf87b94aa00f73a2c7b5/220613_r405ddd38.jpg" data-mid="204928487" border="0" src="https://freight.cargo.site/w/1000/i/6208e69c41291a2f4dfeeb87297d1c8b5735e447d141bf87b94aa00f73a2c7b5/220613_r405ddd38.jpg" /> <img width="2240" height="1436" width_o="2240" height_o="1436" data-src="https://freight.cargo.site/t/original/i/f3cf4f4245db26e562832736210de493bf226e0baccbee6310b2acaff3b6ade6/220613_r4gg0538.jpg" data-mid="204928486" border="0" src="https://freight.cargo.site/w/1000/i/f3cf4f4245db26e562832736210de493bf226e0baccbee6310b2acaff3b6ade6/220613_r4gg0538.jpg" /> Fig. #02-03.&nbsp; The “E—G—G”. Variations on an AI–generated visual essay about the O—S—C genesis, 2023. The artworks are extracted from a pool of over 200 experimental visualizations coming from an intense prompting process. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Following the same path, the “organism” had to live and evolve by inhabiting multiple virtual landscapes and constantly eating and digesting new contents. It had to replicate data, bits, pixels, skins, sounds, interactions, textures, technologies, frameworks and lymphs. The organism replicates human tissues, displaying them as textures upon its rendered limbs. Its form is unstable, growing and changing as it keeps absorbing and digesting bits of data. Its body is chimeric and embraces queer transmateriality and transmediality. As Karen Barad wonders: “Can we (re)generate what was missing in fleshiness but materially present in virtuality? Can we (re)generate what our bodies sense but cannot yet touch? Can we trans/form, regenerate, dismember, and re- member anew fleshly bodies in their materiality?” (from Transmaterialities, 2015). <img width="2430" height="1620" width_o="2430" height_o="1620" data-src="https://freight.cargo.site/t/original/i/a14baf25fc4cc508c1d30e305e3e59269025a033354749996cd24de9cf4a2265/OOSSCC_huge.jpg" data-mid="204928468" border="0" src="https://freight.cargo.site/w/1000/i/a14baf25fc4cc508c1d30e305e3e59269025a033354749996cd24de9cf4a2265/OOSSCC_huge.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/629f47ead9173b7310f06ab0a2d0035745c72be89b60f6d954dcf3b34ea30e8d/2.png" data-mid="204928503" border="0" src="https://freight.cargo.site/w/1000/i/629f47ead9173b7310f06ab0a2d0035745c72be89b60f6d954dcf3b34ea30e8d/2.png" /> Fig. #04-05.&nbsp; Visualization of the O—S—C taking shape, displaying the totality of its organs / Landscape II — alternative view of the organism’s insides before its digestion of contents, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Transmedia Research Institute’s website is a cyber-lymphatic system: a virtual framework in which the institute-organism itself takes shape. By exploring its digital tissues, a brutalist brain in the form of a console manifests across the interface and responds to the inputs provided by the visitor. This modality of display works as a real-time dissection of the platform in which the digital entrails are left open as windows, and coding prompts run across them like blood pumping through the veins. The opening screen on the website showcases the genesis of the organism, while as the navigation process gets to its core, the platform reveals both its contents and its prompts.︎︎︎ &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; On social platforms, instead, the O—S—C tries to project its physical shape by absorbing and digesting images, videos, sounds, texts and other contents, and thus showing the product of the dialogic, “symbiotic” process between the AI’s and human’s choices. <img width="828" height="2025" width_o="828" height_o="2025" data-src="https://freight.cargo.site/t/original/i/c8c53ff2bf6c6843da3f3f90cabe0d08d5d8a3901c794c29ffc62821c1e693e7/trans111.jpg" data-mid="204928502" border="0" data-scale="36" src="https://freight.cargo.site/w/828/i/c8c53ff2bf6c6843da3f3f90cabe0d08d5d8a3901c794c29ffc62821c1e693e7/trans111.jpg" /> Fig. #06.&nbsp; Visual Identity, 2023. The digital design for Instagram works as a cluster of contents digested and synthesized into visuals by the “organism-without-a-body”. <img width="1600" height="1202" width_o="1600" height_o="1202" data-src="https://freight.cargo.site/t/original/i/152e5104b077d31667080c97e19203f276e1c10d03c830924c02dec040e6a40c/MM_Laptop_LT-GRD-06.jpg" data-mid="204928495" border="0" src="https://freight.cargo.site/w/1000/i/152e5104b077d31667080c97e19203f276e1c10d03c830924c02dec040e6a40c/MM_Laptop_LT-GRD-06.jpg" /> Fig. #07.&nbsp; Display of Transmedia Research Institute’s website opening showcasing the visual genesis of the O—S—C, 2023. The images that appear on the screen are willingly selected by an Artificial Intelligence and change every time; the same AI also highlights details and data of interest on each image as the human user is scrolling. https://zzzzzproject.com/Castle-Of-Fear-D Fri, 16 Feb 2024 17:23:46 +0000 zzzzz project https://zzzzzproject.com/Castle-Of-Fear-D castle of fear* <img width="2743" height="1920" width_o="2743" height_o="1920" data-src="https://freight.cargo.site/t/original/i/ecafc9e82949db20960737d7e172e0d980097648957fc40311a32ee48f6cdb7e/COFF_ppl_1.jpg" data-mid="204801526" border="0" src="https://freight.cargo.site/w/1000/i/ecafc9e82949db20960737d7e172e0d980097648957fc40311a32ee48f6cdb7e/COFF_ppl_1.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/733a91ebefb8bff18b9539706d7dd0a1780f50d02f21fca2666ce65dc0eab6d2/castle_of_fear_2.jpg" data-mid="204801738" border="0" src="https://freight.cargo.site/w/1000/i/733a91ebefb8bff18b9539706d7dd0a1780f50d02f21fca2666ce65dc0eab6d2/castle_of_fear_2.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/74f6615605f78697b5d2bef67acd45247fca235f440cd8eb77e7ab860f3a4562/castle_of_fear_3.jpg" data-mid="204801739" border="0" src="https://freight.cargo.site/w/1000/i/74f6615605f78697b5d2bef67acd45247fca235f440cd8eb77e7ab860f3a4562/castle_of_fear_3.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/89b0687b94b6ba0340070a96dd6595339b76dd648431a1e2b92d740ec9d7fed5/castle_of_fear_4.jpg" data-mid="204801740" border="0" src="https://freight.cargo.site/w/1000/i/89b0687b94b6ba0340070a96dd6595339b76dd648431a1e2b92d740ec9d7fed5/castle_of_fear_4.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/49e1eed7e74d1bdd46ce75ea8f61b79a3c1504aa5f528200380fbf6fbf8fe64b/castle_of_fear_5.jpg" data-mid="204801742" border="0" src="https://freight.cargo.site/w/1000/i/49e1eed7e74d1bdd46ce75ea8f61b79a3c1504aa5f528200380fbf6fbf8fe64b/castle_of_fear_5.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/941820c7b0c490d3a4c0de611068ecc17027b926e498ee5b73892826841838ff/castle_of_fear_6.jpg" data-mid="204801744" border="0" src="https://freight.cargo.site/w/1000/i/941820c7b0c490d3a4c0de611068ecc17027b926e498ee5b73892826841838ff/castle_of_fear_6.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/289d23df03b28e1312a477683aaa8c82571c550fb5448519e03d60f6ae71a903/castle_of_fear_7.jpg" data-mid="204801745" border="0" src="https://freight.cargo.site/w/1000/i/289d23df03b28e1312a477683aaa8c82571c550fb5448519e03d60f6ae71a903/castle_of_fear_7.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/e5c2f87bffbc494f2c4bfb7316fcdd903b1fb7530c6174c924436b0ec8e41a6b/castle_of_fear_8.jpg" data-mid="204801746" border="0" src="https://freight.cargo.site/w/1000/i/e5c2f87bffbc494f2c4bfb7316fcdd903b1fb7530c6174c924436b0ec8e41a6b/castle_of_fear_8.jpg" /> Fig. #01-08.&nbsp; Castle Of Fear artwork and&nbsp; stills featuring architecture details and characters appearing in movies by D. Cronenberg, J. Carpenter, L. Fulci, G. Romero and J. D’Amato, among others. — Milan, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Castle Of Fear is the projection of a nightmare construction aborted out of terror, anxiety, stress, pain, agony, doubts, precariousness, disgust and nausea. The castle voraciously devours and vomits visiting incarnations of dread as the pressure arises: its doors are always open, its mouth is always hungry for fleshes. The whole building is a rotting machine born out of a forced extrusion from a sharpened Rorschach blot. The artwork explores a hypothetical architectural visualization of negative thoughts and feelings through the use of disturbing cinematographic references &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ‘Nel Profondo Dell’Animo’ is a temporary exhibition hosted by ACRE Hub, curated by Federica Intraligi and Sara Petretto, in which the artists represent movements and deeper feelings objectified into nightmares, memories and distant melodies. For the occasion, I've been honored to showcase my artwork 'Castle Of Fear' with a pierced spatial installation built on-site. <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/0756c91544d01dee8d283ec9ae684965da47a89c753a02cee59ed5b5af78e32c/DSC_5918.JPG" data-mid="204801647" border="0" src="https://freight.cargo.site/w/1000/i/0756c91544d01dee8d283ec9ae684965da47a89c753a02cee59ed5b5af78e32c/DSC_5918.JPG" /> <img width="4016" height="6016" width_o="4016" height_o="6016" data-src="https://freight.cargo.site/t/original/i/1100c1e00c48e71059633e92d00a4b565cdf904098b9278754079f3d884cafdb/DSC_5905.JPG" data-mid="204805750" border="0" src="https://freight.cargo.site/w/1000/i/1100c1e00c48e71059633e92d00a4b565cdf904098b9278754079f3d884cafdb/DSC_5905.JPG" /> <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/492d91dee99de0657c10100814590f55c3592d3050bca1e1206521e9a99696b2/DSC_5910.jpg" data-mid="204806823" border="0" src="https://freight.cargo.site/w/1000/i/492d91dee99de0657c10100814590f55c3592d3050bca1e1206521e9a99696b2/DSC_5910.jpg" /> <img width="2008" height="3008" width_o="2008" height_o="3008" data-src="https://freight.cargo.site/t/original/i/cadff134b0fc8e9edc951dc98ebd032fd5d74ab76b64b3562550ec07460d1acd/DSC_5920.jpg" data-mid="204806593" border="0" src="https://freight.cargo.site/w/1000/i/cadff134b0fc8e9edc951dc98ebd032fd5d74ab76b64b3562550ec07460d1acd/DSC_5920.jpg" /> Fig. #09-12.&nbsp; Shot of the artwork from the exhibition “Nel Profondo Dell’Animo” at ACRE Hub, curated by Federica Intraligi and Sara Petretto — Photo credits: Virginia Pollastrelli.&nbsp;Milan, 2023. https://zzzzzproject.com/Castle-Of-Fear-M Sun, 18 Feb 2024 23:51:55 +0000 zzzzz project https://zzzzzproject.com/Castle-Of-Fear-M castle of fear* <img width="2743" height="1920" width_o="2743" height_o="1920" data-src="https://freight.cargo.site/t/original/i/ecafc9e82949db20960737d7e172e0d980097648957fc40311a32ee48f6cdb7e/COFF_ppl_1.jpg" data-mid="204928564" border="0" src="https://freight.cargo.site/w/1000/i/ecafc9e82949db20960737d7e172e0d980097648957fc40311a32ee48f6cdb7e/COFF_ppl_1.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/733a91ebefb8bff18b9539706d7dd0a1780f50d02f21fca2666ce65dc0eab6d2/castle_of_fear_2.jpg" data-mid="204928568" border="0" src="https://freight.cargo.site/w/1000/i/733a91ebefb8bff18b9539706d7dd0a1780f50d02f21fca2666ce65dc0eab6d2/castle_of_fear_2.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/74f6615605f78697b5d2bef67acd45247fca235f440cd8eb77e7ab860f3a4562/castle_of_fear_3.jpg" data-mid="204928569" border="0" src="https://freight.cargo.site/w/1000/i/74f6615605f78697b5d2bef67acd45247fca235f440cd8eb77e7ab860f3a4562/castle_of_fear_3.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/89b0687b94b6ba0340070a96dd6595339b76dd648431a1e2b92d740ec9d7fed5/castle_of_fear_4.jpg" data-mid="204928570" border="0" src="https://freight.cargo.site/w/1000/i/89b0687b94b6ba0340070a96dd6595339b76dd648431a1e2b92d740ec9d7fed5/castle_of_fear_4.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/49e1eed7e74d1bdd46ce75ea8f61b79a3c1504aa5f528200380fbf6fbf8fe64b/castle_of_fear_5.jpg" data-mid="204928571" border="0" src="https://freight.cargo.site/w/1000/i/49e1eed7e74d1bdd46ce75ea8f61b79a3c1504aa5f528200380fbf6fbf8fe64b/castle_of_fear_5.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/941820c7b0c490d3a4c0de611068ecc17027b926e498ee5b73892826841838ff/castle_of_fear_6.jpg" data-mid="204928572" border="0" src="https://freight.cargo.site/w/1000/i/941820c7b0c490d3a4c0de611068ecc17027b926e498ee5b73892826841838ff/castle_of_fear_6.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/289d23df03b28e1312a477683aaa8c82571c550fb5448519e03d60f6ae71a903/castle_of_fear_7.jpg" data-mid="204928573" border="0" src="https://freight.cargo.site/w/1000/i/289d23df03b28e1312a477683aaa8c82571c550fb5448519e03d60f6ae71a903/castle_of_fear_7.jpg" /> <img width="1920" height="1344" width_o="1920" height_o="1344" data-src="https://freight.cargo.site/t/original/i/e5c2f87bffbc494f2c4bfb7316fcdd903b1fb7530c6174c924436b0ec8e41a6b/castle_of_fear_8.jpg" data-mid="204928574" border="0" src="https://freight.cargo.site/w/1000/i/e5c2f87bffbc494f2c4bfb7316fcdd903b1fb7530c6174c924436b0ec8e41a6b/castle_of_fear_8.jpg" /> Fig. #01-08.&nbsp; Castle Of Fear artwork and&nbsp; stills featuring architecture details and characters appearing in movies by D. Cronenberg, J. Carpenter, L. Fulci, G. Romero and J. D’Amato, among others. — Milan, 2023. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Castle Of Fear is the projection of a nightmare construction aborted out of terror, anxiety, stress, pain, agony, doubts, precariousness, disgust and nausea. The castle voraciously devours and vomits visiting incarnations of dread as the pressure arises: its doors are always open, its mouth is always hungry for fleshes. The whole building is a rotting machine born out of a forced extrusion from a sharpened Rorschach blot. The artwork explores a hypothetical architectural visualization of negative thoughts and feelings through the use of disturbing cinematographic references &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ‘Nel Profondo Dell’Animo’ is a temporary exhibition hosted by ACRE Hub, curated by Federica Intraligi and Sara Petretto, in which the artists represent movements and deeper feelings objectified into nightmares, memories and distant melodies. For the occasion, I've been honored to showcase my artwork 'Castle Of Fear' with a pierced spatial installation built on-site. <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/0756c91544d01dee8d283ec9ae684965da47a89c753a02cee59ed5b5af78e32c/DSC_5918.JPG" data-mid="204928567" border="0" src="https://freight.cargo.site/w/1000/i/0756c91544d01dee8d283ec9ae684965da47a89c753a02cee59ed5b5af78e32c/DSC_5918.JPG" /> <img width="4016" height="6016" width_o="4016" height_o="6016" data-src="https://freight.cargo.site/t/original/i/1100c1e00c48e71059633e92d00a4b565cdf904098b9278754079f3d884cafdb/DSC_5905.JPG" data-mid="204928607" border="0" src="https://freight.cargo.site/w/1000/i/1100c1e00c48e71059633e92d00a4b565cdf904098b9278754079f3d884cafdb/DSC_5905.JPG" /> <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/492d91dee99de0657c10100814590f55c3592d3050bca1e1206521e9a99696b2/DSC_5910.jpg" data-mid="204928613" border="0" src="https://freight.cargo.site/w/1000/i/492d91dee99de0657c10100814590f55c3592d3050bca1e1206521e9a99696b2/DSC_5910.jpg" /> <img width="2008" height="3008" width_o="2008" height_o="3008" data-src="https://freight.cargo.site/t/original/i/cadff134b0fc8e9edc951dc98ebd032fd5d74ab76b64b3562550ec07460d1acd/DSC_5920.jpg" data-mid="204928612" border="0" src="https://freight.cargo.site/w/1000/i/cadff134b0fc8e9edc951dc98ebd032fd5d74ab76b64b3562550ec07460d1acd/DSC_5920.jpg" /> Fig. #09-12.&nbsp; Shot of the artwork from the exhibition “Nel Profondo Dell’Animo” at ACRE Hub, curated by Federica Intraligi and Sara Petretto — Photo credits: Virginia Pollastrelli.&nbsp;Milan, 2023.