Hyper*Espresso - Press release
Digital Art Pavillion | The Wrong Biennale 2023/2024

Dates
● Opening: November 1st, 2o23
● Closing: March 1st, 2o24.

Location
Online: https://hyperespresso.com
A project by Alessia Fallica, Martina Pizzigoni, Mattia Salamida, Sofia Talanti & Emma Silvana Tripaldi. The team is based in Linz, Austria and Milan, Italy.

Introduction
This document provides a comprehensive overview of Hyper*Espresso digital art pavilion, which aims to explore the connection between digital art, Italian culture and the online experience. Through an interactive website, the pavilion offers the audience an immersive and whimsical experience, showcasing works and collections by emerging artists that critically reflect the theme of Italian-ness.

Curatorial statement
Hyper*Espresso is intended to be an acute look at the reality of contemporary Italy. This exercise represents a unique opportunity to analyse, deconstruct and reinterpret the salient aspects of our identity. Through academic rigour and a critical lens, as well as a multidisciplinary approach not lacking in satire and irony, the artists immerse themselves in the cultural fabric of our country. From politics to religion, from food to sex, from cultural contradictions to national football identity, to bring to the surface and offer an acute and illuminating perspective on the social dynamics that characterise us.
Through works of art that blend aesthetics and social criticism, we open up to a profound dialogue on Italian culture, questioning our traditions, institutions and idiosyncrasies, inviting reflection on the power dynamics and socio-cultural influences that surround us. Challenging stereotypes, we push to reconsider and redefine the definition of Italian-ness, to stimulate debate and open new horizons of understanding.
Description of the project and its purpose
The Hyper*Espresso pavilion is an art project that aims to celebrate young creativity through the exploration of themes related to artistic expression, through the ways and places of digital and being Italian, of the culture of Italy, of Italianness. The project aims to offer a unique and engaging experience, combining interactivity and satire.

"This project was born from five Italians meeting at an Austrian University. Through the constant intercultural exchange, we experience every day, we realized how our home country unites us and how others see us as living caricatures. We always talk about food, sun, sea and vacations. We spend our afternoons cooking and organising evenings over spritz, focaccia and pizza. We would like to share our Italian and saturated aesthetics with the world, a possibility of deconstruction of the reality that we live in and the birth of a different community. We are absolutely against our new government, we are queer, anti-fascist, anti-racist people who share ideals of openness and rebirth of communities."

In a moment in which digital art is becoming increasingly relevant, Hyper*Espresso presents itself in this context as a vehicle for a critical perspective on what is wrong with Italy today. A cross-section of contemporary that reveals a very worrying and problematic situation and identifies, in the figure of the young artist, a privileged point of view to highlight and critically reflect on these issues.

The origin of the name
Hyper is a term that invokes the digital and technological realm. It represents the energy, intensity and speed that characterise the digital world, a universe in which information is shared rapidly, in which context we are constantly connected. The use of the term Hyper in the name of the project emphasises the contemporary and dynamic approach of the exhibition.

On the other hand, we have Espresso, which recalls the traditional and iconic image of Italian coffee. To drink an Espresso is a symbol of Italian culture associated with conviviality, energy, and passion. It is a time to rest and socialise, an established tradition that brings people together. The use of the term Espresso in the name of the project creates a link with Italian identity and adds a familiar and warm element to the exhibition.
Hyper*Espresso is therefore a name based on a play on words intrinsic to the Italian language. In fact, in addition to recalling the image of espresso coffee, espresso is also the past participle of the verb esprimere (to express). This double meaning is intentional and loaded with significance for the project: the combination of 'Hyper' and 'Espresso' generates an intriguing concept of 'hyper expression'. It represents the fusion of two worlds, the digital and the traditional, embodying the idea of an intense, bold and incisive self, to transcend conventional boundaries and offer a contemporary and stimulating vision of the Italian identity.
Hyper*Manifesto
Like any proper story, our pavilion began with the writing of our manifesto, i.e. the Hyper*Manifesto, whose intent is to reevaluate our perception of Italian society, art and culture by embracing the spirit of artistic rebellion and intellectual discourse.

1. PIZZA MARGHERITA
The collective group Hyper*Espresso, flanked by artists from the stivale, stands as a merciless investigative eye on contemporary Italian society. We loudly proclaim our artistic genius, author of artworks that distinguish themselves as quintessentially Italian creativity. Mediocre and conformists will be put in line and condemned to oblivion, while sarcasm and irreverence reign supreme.

2. PIZZA MARINARA
We officially declare the asphyxiating dividing walls between high culture and popular knowledge broken down, announcing our art as a chaotic fusion of opera and television trash. We address our revolutionary discourse to the entire population of the Bel Paese, not just to the élite.

3. PIZZA CAPRICCIOSA
In the cauldron of omnipresent ignorance of the society we inhabit, we rise as sovereigns of the desecrating intellect, in open defiance of the retrograde and ignorant mentality of a country increasingly of old, shaking the foundations of collective stupidity. We laugh at the populist rhetoric of boomers, who perpetuate immobility, racism and homophobia with their outdated narrative.

4. PIZZA QUATTRO STAGIONI
We raise as our chaotic devotional icon the proverbial inefficiency of the Italian Postal Service, the psychedelic aesthetics of pharmaceutical street signs, and the dystopian reality of the involuntary artistic nature of burning cars on the soil of our capital city. We pay homage to these constants of disaster, tragicomic fiery icons of a society burning in its own failure.
5. PIZZA MARE E MONTI
We openly condemn the incompetent and intolerant attitude of Italy's governing politicians. Stereotypical comedy characters who, if not blatantly incapable of managing and promoting our Bel Paese, are perfidiously active in obstructing and ostracising those who do not suit them.We are determined to turn our attention from the 'always different' minorities (terroni, immigrants, homosexuals...) often pointed at as Italy's scapegoat, to the real problems for which these political figures are responsible, in mockery of the victim narrative that characterises their ideals and those of their electorate.

6. PIZZA DIAVOLA
The contradictions and hypocrisy of the Italian Church will be the target of our ruthless satirical activity. Our investigating eye will expose the fallacies and weaknesses of the ecclesiastical institution by ridiculing the prissiness of the believers who profess love for their neighbour while alienating children because of their queerness. We point the finger at the circus-like spectacularity of celebrations for village saints, considered an extreme devotional act, challenging the absurdity of religious dogmatism.

7. PIZZA HAWAIANA
In contrast to the idiocy of Italian television broadcasts, we proclaim our high intellect, even more so in the appropriation of its trashy aesthetic as the preferred communicative tool to announce the decline of Italian television and, with it, the IQ of its viewers.

8. PIZZA WÜRSTEL E PATATINE
We disavow the secular religion of our country, condemning the cult for the football event as a distorted demonstration of reverence. The action of the Italian football admirer always comes closer to fanatical madness than to healthy appreciation for a sporting competition, revealing mutability and fleetingness of the feeling of belonging of the aforementioned, that only truly feels Italian during the world cup.

9. PIZZA BUFALINA
We censor, in all its forms, criticism of the nosy, the gossipy and the intrusive, elevating the art of gossip to the supreme judge of the human soul. We declare everyone's business to be public knowledge and the news of the day, but not too much, lest this deprives us of the subtle and undeniable enjoyment of minding other people's business.

10. PIZZA SPECIAL
We decree every clock in every home in Italy to be set back one hour, accommodating the supreme genetic characteristic of the true Italian: chronic lateness. All popular holidays, festivals, religious and secular celebrations will be, according to the calendar, proclaimed national holidays, and a percentage of time will be peremptorily set aside for a dolce far niente session at a seaside resort, under penalty of revoking Italian citizenship.



















Selected artists
The Hyper*Espresso Pavilion is an eclectic and innovative exhibition showcasing the talent and creativity of both mid and new emerging artists. Through a careful selection of works and collections, the pavilion offers a fascinating and varied overview of contemporary Italian art. The works presented in the pavilion range across different media, and they are not all native to the digital realm; instead, they demonstrate a fluidity and versatility that transcends traditional artistic boundaries. The artists featured in the pavilion seamlessly navigate multiple media, blending and intersecting them to create unique and captivating artistic expressions. From photography to video, from digital art to performance, from virtual installation to interactive images.
This transmediality not only enriches the viewer's experience but also speaks to the interconnectedness of our contemporary world. It reflects the fluidity of communication and the ease with which ideas and expressions can transcend physical barriers. By embracing transmediality, the Hyper*Espresso Pavilion becomes a dynamic and ever-evolving space, where creativity knows no bounds and artists can explore uncharted territories of expression. Furthermore, this approach aligns with the very essence of Italian culture, which has always been characterised by a willingness to explore, innovate, and embrace new artistic languages. The artists selected for the pavilion exemplify this spirit, demonstrating how Italian creativity continues to evolve and thrive in the digital age.
Each artwork was carefully reimagined and adapted to seamlessly fit the digital medium, while preserving its essence and artistic intent. This diversity of approaches and media creates an engaging and stimulating artistic experience for visitors. The artists selected for the pavilion represent a new generation of Italian talents who have been able to explore and interpret the themes of the pavilion in an original and provocative way, addressing complex and relevant issues, using art as a tool to communicate profound messages and arouse emotions in the public.
The choice of the artists hosted in the Hyper*Espresso Pavilion is deeply rooted in our mission to celebrate and promote the richness of contemporary Italian art. By showcasing the works of emerging Italian talents, we aim to shed lights on the vibrant and diverse artistic scene that often goes unnoticed on the international stage.
We believe in the importance of supporting local talents and providing them with a platform to showcase their creativity and innovative perspectives.


Andrea Villa (He/Him)
Andrea Villa (Turin, 199x) is a Turin-based artist known for Street Art 2.0. His creations have been exhibited worldwide and can be found in private and public collections, including the private collection of Greta Thumberg and the Fondazione Bevilacqua La Masa. In addition, his provocative content has made the rounds of many national and international newspapers and news outlets, including Ansa, La Repubblica, Huffpost France, Forbes, Elle and Vice, to mention a few.

Contacts
IG: @andrealvilla
E-mail: andreavillaperformer@gmail.com

Camilla Gurgone (She/her)
Camilla Gurgone (Lucca, *1997) is an artist active between Milan and Rome. She graduated in sculpture from RUFA - Rome University of Fine Arts (Rome), and she’s currently engaged in the Two-Year Specialty Program in Visual Arts and Curatorial Studies at NABA - Nuova Accademia Di Belle Arti (Milan), Gurgone is a member of the team of spazioSERRA (Milan) and the collective/project space Omuamua (Milan).

Contacts
IG: @camilla.gurgone
Website: https://camillagurgone.it/
E-mail: camilla.gurgone@outlook.it

Luca Santese (He/Him)
Luca Santese (Milan, *1985) pursued his studies at Monza’s Art institute and at the Academy of Fine Arts of Brera in Milan, where he collaborated with Alex Majoli and co-founded CESURA in 2008. In 2010, he was selected by the World Press Photo prize with the project “Detroit 2009-2010” and in the same year he exhibited for the first time “Found Photos in Detroit'' at Le Bal Space (FR), to which followed exhibitions at Kulturhuset (SE), OGR (IT) and the MoCP in Chicago (USA), among others. Luca’s photographs have been published and exhibited across Europe, the United States, Russia, and Asia, showcasing his diverse and impactful body of work.

Contacts
IG: @luca.santese
Website: http://www.lucasantese.com/
E-mail: lucasantese@gmail.com

Marco P. Valli (He/Him)
Marco P. Valli (Monza, *1989) is an Italian photographer based in Milan and represented by CESURA. After graduating in 2009 from the Art Institute of Monza, in 2010 he attended the Art Academy of Brera before specialising in 2011 at CFP Bauer.  Marco’s works have been published by national and international newspapers and magazines (Time, Vogue, L’Espresso, Internazionale, La Repubblica, Vanity Fair) and exhibited all over Italy. Currently he’s still producing individual and collective projects, focusing his work mainly on documentary photography and research in the artistic sector.

Contacts
IG: @marco.p.valli
Website: http://www.marcopvalli.com
E-mail: marcopvalli@gmail.com

Gianluca Tramonti (He/Him)
Gianluca Tramonti (Livorno, *1992) graduated from the Academy of Fine Arts in Florence in Grafica d'Arte, where in 2021 he completed an MA in New Expressive Languages. During his Bachelor, he attended the Royal Academy of Fine Arts in Antwerp. In 2019 he worked in Berlin at Rolando Anselmi Gallery, specialising in Graphic Art at the "Il Bisonte" Foundation (IT). Since 2020, he has been working as an artist's assistant between Florence and Milan, where he lives. Gianluca has exhibited his works in important exhibitions in Italy and abroad, contributing to his growing visibility in the artistic sphere.

Contacts
IG: @ tramontig
Website: https://tramontigianluca.wordpress.com
E-mail: gtramonti2@gmail.com

Giuseppe Laera (He/Him)
Giuseppe Laera (Bari, *1992) is a photographer and visual storyteller who is an Italian photographer with a strong passion for Visual Anthropology. After obtaining a BA in Communication Languages and Cultures at the University of Siena, he decided to pursue an MA in Photojournalism at the Higher Institute of Photography (ISFCI) in Rome. His work has been part of a number of exhibitions, including the Canon Student Development Programme in 2022 and the Perimetro Photoscouting in the same year. His work has been published in L'Espresso, Vice, Ombra Magazine, among others. Currently, Giuseppe works as an assistant at the Italian Institute of Photography (IIF) in Milan.

Contacts
IG: @ giuselae
Website: https://giuseppelaera.com/
E-mail: giuseppelaera9@gmail.com

Martin Errichiello (He/Him)
Martin Errichiello (Naples, *1987) is an artist, photographer and filmmaker whose work has been published, showcased and awarded in numerous institutions, festivals and galleries in Europe and around the world, in solo and group exhibitions. He has collaborated with major agencies such as the BBC, SKY, TIME Inc among others, and worked with renowned artists and film producers. His most recent exhibitions include a solo show at CC Recoleta in Buenos Aires, Argentina in 2023 and an exhibition at the Italian Cultural Institute in Melbourne (AU) in 2021.

Contacts
IG: @ martinerrichiello
Website: https://martinerrichiello.com
E-mail: yeelenfilms@gmail.com

Filippo Menichetti (He/Him)
Filippo Menichetti (Florence, *1986) after a bachelor's degree in Psychology at La Sapienza in Rome in 2009, he earned a master's degree in photojournalism and reportage at the Scuola Romana di Fotografia. In 2012 he co-founded the collective PanAut, and completed a Master at the Danish School of Media and Journalism. Since 2012, he has been the official photographer of the France Odeon festival. His career has been awarded worldwide, including FOAM Talent 2017 and exhibitions in cities such as Paris, London, New York and Frankfurt. He now lives and works in Barcelona.

Contacts
IG: @filo_menichetti
Website: https://www.filippomenichetti.com
E-mail: hola@filippomenichetti.com

Indiara Di Benedetto (She/Her)
Indiara Di Benedetto (Naples, *1994) is an experimental media artist with a background in video art, digital photography and visual design. She completed a BA degree in NTA at Accademia di Belle Arti di Carrara in 2017 and a MA degree in Interface Cultures at Kunstuniversität Linz (AT) in June 2023. Her artworks have been exhibited in several venues like Ars Electronica Festival, ISEA2022 – 27th International Symposium on Electronic Art (ES), lab.30 (DE), Castello d’Albertis - Museo delle Culture del Mondo (IT), CYENS Centre of Excellence Cyprus (GR), 1MSM - 1 Metro Sotto la Metrom (IT) among others.

Contacts
IG: @ndr.db
Website: https://www.indiaradibenedetto.com/wp/
E-mail: indibe94@gmail.com

Livia Ribichini (She/Her)
Livia Ribichini (Rome, *1994) is an artist and set designer. From a background in Scenography (Academy of Fine Arts, Rome, 2017), Livia continued her career by completing a master's degree in Media, Art, Design and Technology at Hanze University in Groningen (NL) in 2021. She has won several awards, including several solo and group exhibitions, both in Italy and abroad. Some of her clients are Rewire Festival (NL), Inter-University Center for Dance Berlin (DE) and National Museum of Science and Technology (IT).

Contacts
IG: @frytto_misto
Website: https://www.liviaribichini.com/
E-mail: livia.rib@hotmail.com

Lorenzo Iannantuoni (He/Him)
Lorenzo Iannantuoni (Milan, *1999) graduated in Design at the ISIA in Florence and attended a period at the Bauhaus-Universität in Weimar. He is currently attending a master's degree in Space and Design Strategies at the Kunstuniversität in Linz (AT). Lorenzo works as a freelance Installation Designer and researches as a design journalist for Isola Design Magazine (IT). The latest showcases of his work in Austria were exhibited in Ent, Kunst- und Kulturwerkstatt (Stadt Haag), OO Kunstverein (Linz) and Contemporary Matters (Vienna).

Contacts
IG: @lor.ian.n
E-mail: lorenzoiannantuoni99@gmail.com

Maria Orciuoli (She/her)
Maria Orciuoli (Avellino, *1989) is a research-based artist and cultural publicist living and working between Berlin and Linz. After an MA in International Management, she now attends Interface Cultures at Kunstuniversität Linz (AT). Maria participated in numerous residencies, including Yoichi Ochiai's workshop at the University of Tsukuba (JP), and at the dwhX space at Das Weisse Haus (AT). Her works have been showcased in Ars Electronica Festival (AT), Quantified Perspectives (LU), among others. She also runs KO-HUM, a communication agency promoting artists and cultural producers working in music and performing arts.

Contacts
IG: @lemonytgordon
Website: https://mariaorciuoli.xyz/
E-mail: maria.orciuoli@gmail.com

Pierre Dimitri Meka (He/Him)
Pierre Dimitri Meka (Bangui, *1983) is an activist and cultural mediator. He arrived in Italy as an asylum seeker in 2016, and since then has been actively involved in various human rights initiatives, such as the Su.Pr.Eme Italy program, aimed to combat labour exploitation in agriculture and address the issue of Caporalato, funded by the European Commission. With a background in Political Science, Pierre currently serves as a trade unionist at the Italian General Confederation of Labour (CGIL) in the city of Avellino, focusing on issues related to cultural mediation and assists in the process of regularising immigrants and facilitating their integration.

Contacts
E-mail: pietrimeka31@gmail.com



Noemi Comi (She/Her)
Noemi Comi (Catanzaro, *1996) is an artist and photographer with solo and group exhibitions in Italy and abroad, including Somerset House (UK), PHest International Photography Festival (IT), MIA Photo Fair (IT), Noorderlicht Photo Festival (NL), and the Biennale della Fotografia Femminile (IT). Between 2022 and 2023 she won the Castelfiorentino Prize, the New Post Photography Award, and was a finalist in the Sony World Photography Awards. She is currently studying Photography at the Brera Academy of Fine Arts in Milan (IT).

Contacts
IG: @ noemicomi
Website: https://www.noemicomi.com/
E-mail: noemi.comi96@gmail.com

Perla Sardella (She/Her)
Perla Sardella (Jesi, *1991) is a filmmaker and artist, with an MFA in Multimedia Arts and Cinema from the Brera Academy of Fine Arts in Milan. Her works have been exhibited in Italian and international galleries, including MACTE, Burel Museum, smART Foundation (IT) and Biennale Mulhouse (FR). Besides being a filmmaker, she has also been a teacher, tutor and assistant in film workshops and has worked in audiovisual productions, video editing and art production. She is part of a transfeminist collective, COLLA, which acts in and around Jesi. She lives and works in Genoa.

Contacts
IG: @ perlosa
Website: https://ps.persona.co
E-mail: perla.sard@gmail.com

Pietro Lonoce (He/Him)
Pietro Lonoce (Taranto*, 1997) moved to Parma in 2017, where he graduated in Communication and Contemporary Media for the Creative Industries. His work has received several recognitions both at exhibitions and in several magazines, (L'Espresso, Beat to be, Artsted, Nea Magazine, Lateday Magazine, Escape Vision, Broad Magazine, and DoppiaEffe Mag), helping to make his artistic vision known to the public. Currently, he pursues his passion as a freelance photographer and graphic designer.

Contacts
IG: @pietrolonoce
Website: https://pietrolonoce.com
E-mail: studio.pietrolonoce@gmail.com

Sofia Avaltroni (She/Her)
Sofia Avaltroni (Ancona, *1998) graduated in Philosophy in Bologna with a thesis titled "Transgender and nonconforming: hybrid approaches between nature, medical technologies and media representations”; currently she is finishing an MA in New Technologies of Art in Naba, Milan. Parallel to her studies, she has been working on her identity as a visual artist, a path that has led her to collaborate with magazines on editorials, short films and musical projects as an artist, actress and model.

Contacts
IG: @sofiaavaltroni
E-mail: sofi98.a@gmail.com

Francesco Bendini (He/Him)
Francesco Bendini (Sansepolcro, *1996) earned a BA and a MA degree in Sculpture from the Academy of Fine Arts in Bologna while carrying out, between 2021 and 2022, a study period at Newcastle University (UK). Since 2019, Francesco's artistic endeavours have graced numerous solo and group exhibitions. His last solo show include InPresenza, Ipercorpo at EXATR, Forlì (IT) and CINGOMMA at AF Gallery, Bologna (IT). In addition, Francesco's work gained recognitions such as the Combat Prize nomination in 2023, and the Young Art Award nomination in 2022. Francesco is currently residing and working between Città di Castello and Turin.

Contacts
IG: @ francescobendini
Website: https://www.francescobendini.com
E-mail: frabendini@gmail.com


Sveva Crisafulli (She/Her)
Sveva Crisafulli (Rimini, *1997) is an independent curator, researcher and visual artist. Her research explores the fascist legacy in contemporary times, post-colonial theory and the legacy of colonialism in Italian and foreign territory. Since 2021 she has been a member of the curatorial collective Proteo, with which she produced the Productive Leisure festival in collaboration with Fondazione Sandretto Re Rebaudengo and Fondazione CRT in Turin. She got a BA at Goldsmiths University of in Fine Art and History of Art, and an MA in Contemporary Art Theory. She has also been a member of Campo21, a course in curatorial practices at Fondazione Sandretto Re Rebaudengo.

Contacts
IG: @ssenhal
E-mail: svcrisafulli@gmail.com

Alice Minervini (She/Her)
Alice Minervini (Florence, *1997) is an independent artist and researcher based between London and Italy. Her practice is developed through a series of collaborations that explore the intersections of fiction, new technologies, movement, and eroticism as manifestations of queer futures. Alice is autricə of Comizi d'Emigrazione, an autobiographical project born out of the urgency to investigate and simultaneously intervene on the interrelationship between the politics of love, migration and queer Italy as a response to Pier Paolo Pasolini's Comizi d'Amore. After a classical education, she graduated with honours from the Department of Visual Cultures at Goldsmiths, University of London (MA in Contemporary Art Theory) with an interdisciplinary thesis in 'Dancing with Glitch: Beyond the Body-as-Machine'.

Contacts
IG: @p.akkiana
Website: https://aliceminervini.hotglue.me/
E-mail: aliceminervini@yahoo.com

Ilaria Leonetti (She/Her)
Ilaria Leonetti (Rome, *1994) is an independent curator and researcher. Her research investigates the concept of the future as nostalgia: the idea of living in an imperishable present in which time seems to have expired, combined with the importance of rituals and folklore to rediscover escamotages and forgotten realities. She is co-founder of D'Ora, a collective that brings together young curators and architects to create contemporary art exhibitions with emerging Italian and international artists in disused buildings and places. Ilaria studied Art History at the Freie Universität Berlin and holds an MA in Visual Cultures and Curatorial Practices from the Brera Academy of Fine Arts and was part of the curatorial practices course at the Fondazione Sandretto Re Rebaudengo.

Contacts
IG: @ilarialeowetti






















Selected artworks

● Andrea Villa
Selected artworks (2019 – 2023): (1) “Riportiamoli a casa”, (2) “La rivoluzione siamo noi”, (3) “Pensa come vuoi, ma pensa come noi”, (4) “Preserva i tuoi figli, non vaccinarli”, (5) “Italy is Gay”, (6) “Campi Rom”, (7) “Preserva la storia”, (8) “Non appenderti a un’idea sbagliati”, (9) “Basta Terroni”.
Printed posters affixed in public spaces.

Work description
Andrea’s artistic journey is a captivating exploration of the ever-shifting landscape of current issues, reflecting the ephemerality of media visibility and the complex interplay of politics, culture, and society. Through his thought-provoking billboards and strategic engagement with mainstream media, Andrea dissects issues that often become obsolete and forgotten in a matter of days. At the core of his artistic practice is a deep-seated dissatisfaction with the monopolisation of media by political agendas and the sidelining of younger voices. This dissatisfaction has driven him to seek an alternative platform, that of the artist, to express his opinions on pressing social and political matters. One of his standout works involves a clever twist on political imagery, playfully reimagined in unexpected contexts. For instance, in one piece, Salvini becomes an unwitting testimonial for a fictional razor brand, complete with an inverted razor blade that humorously resembles a dictator's moustache. While Andrea initially focused on political themes, he changed direction when the political landscape itself became increasingly parodic and incoherent. Today, his work delves deeper into the digital realm, earning him the title of a cross-media artist: by employing various mediums, with a particular emphasis on the digital ones, to disseminate his artistic message and address broader social issues. Notably, Villa chooses to remain anonymous, a deliberate decision that not only mirrors the screen-mediated society we inhabit but also serves as a form of self-protection. Some of his previous works have incited threats and intimidation from extremist groups, making his anonymity a necessary shield in the pursuit of his art.

Keywords
Street artist, Social criticism, Urban posters, Rebel art, Virality, Politics and satire, Art and politics, Art advertising campaigns, Urban context

● Camilla Gurgone
“Full mime jobs: Pizza chef”, (2022)
Performance, June 11-July 9, 2022.
Pizzeria Casa Kunstschau, Lecce (IT) is part of the Full mime jobs series.
Materials: Flour, glue, paints, plaster, pigments, wood, modelling pastes, plastic, stainless steel. Environmental dimensions.

Work description
Camilla’s art practice spans between installations and performances, engaging the audience in a world of playful and sensitive interaction, and encouraging them to explore inorganic objects, often overlooked in everyday life. These objects become then vehicles for social critique, underscored by lucid poetry.

Camilla often actively involves the audience in his performances, entrusting them with crucial parts of the work, integrating them into it. The aura slips over the audience, an extreme consequence of what Umberto Eco (1932-2016), referring to the visual arts and informal painting, had called open work, that is, when the work is realised in an input of indeterminate stimuli and to a series of variable readings by the viewers. When the work is not clearly defined, viewers can select their own paths and readings, choosing viewpoints that leave out or indicate what the viewer finds interesting. The usage of food, such as pizza, as the central element of Full mime jobs – Pizza chef presented for the first time at Casa Kunstschau (2022), Lecce, connects Gurgone's work to its Italian roots, exploring an everyday iconography that is instantly recognisable and shared by a wide audience. The choice of food as a medium allows for the creation of a universal and accessible language that invites participation and reflection on the significance of Italian culture in contemporary society.

Keywords
Participatory art, Social critique, Inorganic objects, Distributed authorship, Italian iconography, Food as medium, Simulacrum






● Luca Santese & Marco P. Valli from the CESURA collettive
1. “Realpolitik (2018 – 2023). The Third Republic”, (2023)
Published on Boys Boys Boys, Popolopopolo, Lega Nord Party and MoVimento Lento zines.

Work description
Realpolitik offers a critical and satirical examination of the imagery of contemporary Italian politics where the authors, Luca and Marco, have embarked on a project that scrutinises the iconography of communication and propaganda that characterises Italy's political landscape today. Since 2018, they have meticulously documented Italy's political scene through a series of real-time publications by the independent publishing house affiliated with the photographic collective Cesura. Their impactful photographs have graced the covers of esteemed newspapers and magazines, including Time Magazine, L'Espresso, La Repubblica, Internazionale, and L'Essenziale, among others.

This visual narrative, largely shaped by the artistic vision of Luca and Marco in recent years, is characterised by a subversion of the traditional techniques of political representation. This is primarily achieved through a meticulous and systematic utilisation of social networks, resulting in a shift from representative democracy towards an overt democracy of representation. Through their photographs, they expose the intricacies upon which the system of political representation in Italy is built, revealing the artifices used to create an illusion of authenticity, simplicity, and exposing the intricacies and artifices that underpin the political representation system in Italy, interrupting the chain of political communication as it attempts to present itself as straightforward and unadulterated. The project has not only been presented through traditional exhibitions, such as Realpolitik 2018-2023, presented last June at Base Milano (IT), but also through experimental installations in various locations including Cinema Palazzo in Rome, FotoForum in Bolzano, Magazzini Fotografici in Naples, and the Alcart Festival in Alcamo.

Keywords
Satire, Italian politics, Political transformation, Contemporary Italy, Propaganda, Political communication, Visual imagery, Social Media



2. “Il corpo del capitano”, (2020)
Hardcover, Favini Remake Midnight carapace
24×34 cm / 9,4×13,3 in 128 pages, 226 photos
ISBN 978-88-945611-0-4
Printed in Italy, October 2020

Work description
After Realpolitik, Luca and Marco’s attention turned to Matteo Salvini, the charismatic leader of the Italian Lega and centre-right wing, affectionately referred to by his supporters as "Il Capitano” (The Captain). Since October 2022, Salvini has served as vice prime Minister, as well as minister of infrastructure and transport, in the Meloni government. The authors closely followed party assemblies, celebrations, and demonstrations, focusing on Salvini's unique use of his own body as a tool for political messaging. The Minister, in an unprecedented manner, personally documents his life and physique, positioning himself as a relatable "man of the people" while bypassing traditional photographer roles. Moreover, with a substantial social media following, Salvini directly engages with his audience, circumventing traditional media outlets.
His ability to absorb criticism and attacks has been equally remarkable and the authors experienced firsthand: an image of him from "Boys Boys Boys," the initial volume of the "Realpolitik" series, was selected for Time Magazine's European edition cover. The image, featuring Salvini's smiling face dramatically lit from below, loomed behind the title "The New Face of Europe," influencing European perceptions of the leader. In response, Salvini reposted the same image on his social channels, using it to legitimise his political persona in national printed communications. Luca and Marco therefore adopted a photographic style that deviates sharply from the minister's sympathetic, colourful and "pop" aesthetic, adopting a strict black and white with dark and dystopian undertones, with the aim of amplifying the grotesque aspects of Salvini's narrative, and consequently provoking a counter-reading. This means to explore not only one man, but all the bodies he embodies: the national one, the electoral one, the one represented by the media, and the supporters and admirers that converge into one, that of the "Captain."

Keywords
Matteo Salvini, Political persona, Satirical photography, Visual critique, Propaganda, Political communication, Multiple roles, Political transformation, Satire
3. “Malatì”, (2023)
Newsprint paper, Rotogravure
25×35 cm / 9,8×13,7 in
40 pages, 50 photos
Printed in Italy, June 2023

Malatì, captured by Luca and Marco, is a photographic volume that immortalises the joyous victory celebration of S.C.C. Napoli in the 2023 Italian football championship, a remarkable event last witnessed 33 years ago during the Maradona era.
This project, shot between April 29th and May 4th amidst the week marking the Scudetto win, is a vibrant homage to Napoli, its deep-rooted passion for its football club, and the infectious Malatì spirit, derived from a Neapolitan catchphrase. The photographs in this volume weave together a chaotic, exaggerated, daring, and elusive tapestry of the city, its history, and its inhabitants, much like a Vespa speeding through the winding alleys at night. The cover features a Napoli-themed cake created by a local pastry chef, personalised for the authors. The back of the photographic volume cleverly concludes with a composition of cake remnants framing a fragment of Neapolitan poetry, symbolising life's sweetness amid its bitterness.

Malatì is the inaugural edition of the Dispacci series by Cesura Publish, aiming to etch Italian news stories onto newsprint paper. Printed in Italy in June 2023, this 40-page volume with 50 captivating photos utilises rotogravure printing to bring Napoli's Scudetto celebration to life in a compelling visual narrative.

Keywords
Napoli, Calcio, Passion, Celebration, Visual narrative, Iconography, Tradition, Identity, Napoli's love, Italian football









● Gianluca Tramonti
Selected artworks:
1. “STRISCIONI”, (2020 – On going): (1) “Comune sveglia”, (2) “Basta licenziamenti”, (3) “Tutti allo stadio”, (4) “Deviazione fuorilegge”. Banners found in the street.
2. “That’s life”, (2020). Video-documentation of a performance. Duration: 00:00:01:25
3. “Ultras in strada”, (2023). Graphite on tissue paper, 29.7x42 cm
4. “Spalti”, (2023). Digital pictures
5. “Me in a video game in front of other people's banners”, (2023). Screenshots from the video game Hooligansgame.
6. “Bassorilievi”, (2023 - On going): (1) “Questo è quello che meritate”, (2) “Che cosa triste lucri sul funerale con libri e interviste”, (3) “Il nostro drappo mai autorizzato in onore delle vittime di stato”, (4) “In una città afflitta da tumori e sofferenza la salute dei bambini merita priorità e non indifferenza”, (5) “La gazzetta dello sport e dell'infamia”, (6) “La terra trema e ci vuole coraggio a voi di cuore il nostro abbraccio”, (7) “No alla guerra”, (8) “Ogni parola è vana”.

Work description
In his practice, Giuseppe focuses on the micro-actions that characterise human beings in their linguistic expression. These everyday situations, imbued with meaning, remain linked to the gestures of the graphic sign, bearing witness to passages, events, and thoughts. Often, the actions the artist focuses on are collective and are part of the social memory, reflecting behaviours of aggregation or protest.

In a world dominated by the speed of images, Giuseppe's works present themselves as a pause, inviting us to reflect on the meaning and impact of these actions and gestures in the social context. Life events that unfold in public space through writing on walls, banners taken from the street, street demonstrations and sculptural monuments. Giuseppe therefore extracts objects, images and documents from this context and presents them to the public in their entirety: it is a kind of ready-made that reconsiders the functions of these objects, often completely overturned to focus on form rather than content. In this selection, Giuseppe explores the emotional and social dimension of football fanaticism, offering a new perspective on this subculture, which is widespread in Italy, and its relationship with urban public space. An example of this is the performance "That's Life", where the artist creates a miniature set design that recalls the atmosphere of stadiums. Banners, taken from the street and laden with dedications and declarations to their favourite team or loved ones, become the focus of the action. With megaphone in hand, Giuseppe amplifies these voices and sings desires, tensions and emotions. His voice catalyses a collective reaction, transforming the performance into a ritual of connection and belonging.

Keywords
Fans, Ultras banners, Urban language, Protest art, Street art, Football passion, Contemporary art, Urban expressionism, Curve culture, Iconography































● Giuseppe Laera
“RELIGIOUS FAITH” (2018 - On going). Selected artworks:
1. “Othodox mass”, (2018)
2. “Holy virgin of the star”, (2019)
3. “Sain Mary of the Carmel”, (2019)

Work description
Giuseppe's photographic odyssey stands as a resounding testament to his unyielding passion for exploration. His work is a vivid portrayal of his unwavering dedication to encapsulating the multifaceted essence of religious faith. Through the lens of his camera, he doesn't merely capture moments; he crafts a visual narrative that transcends time and space. His photographs serve as more than mere images; they act as bridges connecting the past and the present. In this intricate tapestry of visual storytelling, he skilfully weaves together stories of unwavering devotion, the echoes of historical legacies, and the pressing issues confronting contemporary communities.

What sets Giuseppe apart is his ability to infuse life into ancient traditions, breathing fresh vigour into customs that have withstood the test of time. His lens doesn't merely record; it transports us into the very heart of these hallowed chambers, allowing us to witness firsthand the fervour and spirituality that define these sacred rituals. In Giuseppe's photographic narratives, religion transcends the boundaries of just a belief system. It morphs into a profound exploration of culture, heritage, and the unassailable human spirit. With every click of his camera, he extends an invitation to the viewer, beckoning them to embark on a journey of introspection and understanding. His work is a potent reminder that faith isn't confined to dogma; it's a timeless, omnipresent force that shapes lives, moulds communities, and forms the bedrock of our shared humanity.

Keywords
Religious rituals, Cultural heritage, Devotion and spirituality, Visual storytelling, Historical legacies, Sacred traditions, Religious diversity, Symbolism, Timeless devotion




● Martin Errichiello & Fillippo Menichetti
“In Quarta persona, (1964 – 2018)”, (2018)
Swiss binding, Grey cardstock cover, 168 Pages, Bn & Col, Edition of 500
Published by Skinnerboox in May 2018
ISBN 9788894895131
“Smoke”, (2018). Video: https://vimeo.com/516321097
“Dust“, (2018) Video: https://vimeo.com/516324343

Work description
In Quarta Persona (In Fourth Person) is an extraordinary exploration characterized by deep narrative and conceptual complexity, casting a critical eye on the Italian history of the last fifty years. This project is based on the philosophical concept of the fourth person singular and "free indirect discourse," an idea introduced by Gilles Deleuze, in which the narrator becomes almost invisible, producing a form of linguistic transcendence, a paradox whose meaning is manifested precisely in conceptual uncertainty.

The visual exploration conducted by Martin and Filippo is permeated with dispersion, conflict and research, offering a cross-over look at the accumulation of images and narratives over time. The focal geographic region of this research is Calabria, a land that during the 1960s was at the centre of the so-called "economic miracle." Here, Italian cultural and political forces initiated a radical transformation of territories and traditions in the name of progress, accompanied by the introduction of new infrastructure: cars, roads and industries. Industrialization ushered in a new anthropic landscape, imposing its aesthetic codes and, above all, a new power. The project questions the fate of ordinary people in the face of this transformation, which, in Calabria and other southern Italian regions, has often presented only two options: to be oppressed or corrupted. The project In Quarta Persona highlights the social, political and economic consequences of this industrialization, while also highlighting the new forms of power and corruption that have resulted.

"[...] Much of the Italian political history of the last fifty years is undoubtedly shrouded in mystery. Even today some stories and incidents, national or private, large or small, remain untold, suppressed or, in the worst cases, censored: from North to South, a country in the name of oblivion. Memory (in the sense of exercised remembering), on the other hand, is a powerful tool with which people can recover what has been lost or stolen." – Martin Errichiello & Fillippo Menichetti

In Fourth Person represents a bold attempt to give voice to an often overlooked and little-known reality. This work offers an elusive narrative that captures the complexity of history and society, by using different visual and expressive techniques. In addition, Martin and Filippo’s project constitutes a critical and reflective analysis of the social, cultural, and economic dynamics that have characterized Southern Italy between 1964 and 2018, shedding light on a profound reflection on identity and cultural change underway.

Keywords
Fourth Person, Free indirect speech, Gilles Deleuze, Italian history, 1960s, Economic miracle, Social transformation, Industrialization, Power and corruption, Calabria, Cultural Identity, Social change, Visual narrative, Historical memory, Geopolitical identity.























● Indiara Di Benedetto
“Future memories of Deep Water”, (2021 – 2022)
Concept, artistic research & visual design: Indiara Di Benedetto
Sculpture design & production: Giulia Berrettoni
Project mentor (2021): Alexia Achilleos
Interface Cultures, Kunstuniversität Linz in collaboration with CYENS Nicosia (CYP)

“Future Memories of Deep Water [intro]”, (2022): https://vimeo.com/726282955
Duration: 00:00:02:32 / Video, Color, Original soundtrack.

Work description
The artwork Future Memories of Deep Water is a fascinating point of reflection that is part of a fundamental development in the field of underwater archaeology. The world of submerged artifacts is a mysterious and fascinating territory in which the past is intertwined with the present in complex and unexpected ways.
Indiara pushes the inquiry one step further, exploring the potential of algorithms in predicting new interactions between these ancient items and the constantly changing environment in which they are found. This draws attention to the need to embrace technology as an ally in preserving our heritage, highlighting how collaboration between science and art can lead to surprising results.
Through this unique perspective, the artist prompts us to reflect on the current problems plaguing marine environments, focusing on "plastic rust" and plastic pollution, which is becoming increasingly prevalent. This underline how urgent it is to preserve these ecosystems, which are threatened not only by natural growth, but also by man's destructive actions and environmental pollution. The ultimate goal is to raise awareness and promote the preservation of our cultural heritage, which includes the submerged secrets of our past.
Moreover, Future Memories of Deep Water fits organically within the Italian context. The Bel Paese boasts a rich tradition of cultural heritage and an invaluable archaeological legacy, and the marine environment has played a crucial role in its history and identity. However, Italy's coasts are also victims of pollution, an urgent problem that affects this nation's natural beauty.

Keywords
Underwater archaeology, Technology and conservation, Machine learning, Marine ecosystem, Pollution, Digital preservation, Environmental responsibility

● Livia Ribichini
“Mostro”, (2023)
AR Installation, 3d Photogrammetry, Creative coding

Work description
Intriguing and complex, Mostro constitutes an exploration of the interactions between users and avatars in the virtual and physical worlds, experimenting with sensations, perceptions and new multimedia technologies. Within an apparently empty space, Mostro reveals its complex essence thanks to Livia's intervention: this experience transports us directly inside an unfinished architectural building, known as “Mostro” (Monster), located near Bologna. This building, with its fusion of classical and contemporary styles, was erected in 1958 and never completed. In the context of the artwork, we wonder whether certain ruins can foreshadow a possible future or remain simply fascinating and grandiose representations of abandoned dreams, as Marc Augé argues. However, thanks to the reality created by Livia, we find ourselves open to the first hypothesis. The artist places an abandoned building within a media environment, giving new life to a structure deprived of its functionality and, for the most part, never really known, giving it a unique artistic value. In other words, his work is similar to a theatrical performance, in which a stage space in which body and environment, physical or digital, interact.

Mostro constitutes the first chapter of a continuously updated archive, a mapping of Italian unfinished buildings, making a significant contribution to the theme of Italian 'eco-monsters', and highlighting how contemporary technology can bring attention back to these neglected monuments, transforming them into objects of artistic and cultural interest. This opens up a crucial discussion on the importance of preserving not only our traditional architectural heritage, but also these modern 'monsters', offering an innovative perspective on their history and possible future.

Keywords
Augmented Reality (AR), Unfinished Italians, Contemporary architecture, Photogrammetry, Past and present, Dialogue between physical and digital, Neglected monuments, Italian Eco-monsters, Rebirth




● Lorenzo Inannatuoni
“Lenti, così dicono. Receipts from lives lived”, (2023)
Nine receipts, eight videos

Work description
Lenti. Così dicono, receipts from lived lives (Slow. So they say, receipts from lived lives) stands as a poignant reflection on the intricate interplay of time, culture, and stereotypes in Italy. In a world often hasty to judge, Lorenzo invites us to embark on a journey that challenges our preconceived notions. By collecting and documenting the daily schedules of individuals from different backgrounds and lifestyles in Italy, Lorenzo creates a digital archive that challenges the cliché of Italian “laziness”. The aim is to show that behind the apparent idleness often hides a complex reality, underlining the importance of not judging superficially. In a world where misconceptions can deeply influence our opinions, Lorenzo's work invites us to look beyond appearances and reflect on the challenges and hidden realities that many people face in their daily lives. This project transforms the image of the lazy Italian and encourages us to consider 'Dolce far niente' (Sweet idleness) in a different light, as a valuable moment of pause and reflection in today's hectic society.

"Cultural differences in time management: In Italy, culture may be more oriented toward pleasure and relaxation, and the concept of 'dolce far niente' is often emphasized. This can lead to a more relaxed approach to daily life, which may be interpreted as 'slowness' by cultures that are more oriented toward work and productivity." – Lorenzo Iannantuoni

Lorenzo's practice represents an important reflection on the transformative power of design and art in the context of public and private spaces. This dialogue is not only a form of communication, but also an instrument of social transformation that is established through interactive installations and material interventions, employing recycled materials and artisanal processes. Lorenzo conceives his 'Design Interventions' by translating complex concepts into analogue interactive elements and processes, creating installations that generate a context for discussion.

Keywords
Design interventions, Interactive installations, Social dialogue, Cultural stereotypes, Dolce far niente, Social awareness, Cultural criticism

● Maria Orciuoli & Pierre Dimitri Meka
“Tomato Propaganda - The Self-Destructing Contract”, (2023)
Board game. Film, Graphics, Photography, Texts, Materials, Manual press

Work description
Maria skilfully interweaves the art world with social denunciation, creating an engaging and thought-provoking experience. Thus, Tomato Propaganda - The Self-Destructing Contract was born. In southern Italy, the caporalato system in the tomato supply chain has long been associated with labour exploitation and human rights violations. Maria decides to challenge this reality and, at the same time, engage the audience in deep reflection on issues such as the culture of consumerism, the influence of technology on human subjectivity, and environmental sustainability. At the heart of the project is a board game, an interactive experience involving three to ten players. One of them is the "seller," while the others are "consumers." The goal of the game is to reach an agreement on the price of a can of tomatoes so that it is not crushed under a hydraulic press. This is not just a game, but a metaphor for the complex dynamic between consumers, producers, and environmental sustainability.
In addition to Mary, Dimitri's firsthand experience endows the project with additional depth and significance. In Italy, a country that ranks as the world's third-largest tomato producer, the grim reality of worker exploitation persists due to the caporalato and unethical practices among some processors and growers. These laborers, often immigrants, face unjust wages, abysmal working conditions, absence of contracts, and even forced labour. Recent data from Italy's National Labour Inspectorate indicates a surge in irregular employment practices, with over 68% of southern Italian companies employing such practices between 2020 and 2021, particularly in agriculture. Beyond labour issues, there's a troubling prevalence of illegality within the industry, raising doubts about the authenticity of the “Made in Italy” label due to the use of non-Italian tomatoes. Addressing these challenges requires a commitment to fair pricing that reflects actual production costs, coupled with awareness campaigns to educate stakeholders about labour rights and ethical practices.

Keywords
Caporalato system, Southern Italy, Tomato supply chain, Price bidding game, Labor, Human rights, Migration, Social and environmental sustainability


● Noemi Comi
1. “Lupus Hominarium”, (2022)
Series of 12 photographs, personal and archival

Work description
The imagery of the wolf has always been that of a fierce and aggressive beast, which in shamanic rituals played a totemic role and was imitated to propitiate the spirit.
Lupus Hominarius was born from the discovery of an old English tourist guidebook from 1883, which told the story of the werewolf of Nicastro, a town in the province of Catanzaro. Drawing from oral histories and according to Calabrian folklore, one could become a Werewolf as a result of consequence of curses, through infections, bites or pacts with the devil. Very often pagan rites were practiced, especially during the Christmas season, on newborn babies, to prevent the appearance of disease-related signs. Each country had its own wolf, which had peculiarities that made it unique. To the legend, shared by many countries in Noemi’s region, there is to be added a variation related to the wedding night in which the bride dies at the hands of her werewolf husband, just as they are consummating the marriage. Very often, these stories were created and spread precisely to prevent women from going out alone, especially at night. Lupus Hominarius offers a contemporary reading of myths related to Werewolves, recreating partial and ambiguous scenarios. Such figures are in fact the product of matter and history; they are modes of narrating the territory analogous to that employed by archaeologists.

Keywords
Werewolf, Folktales, Pagan rites, Oral narrative, Southern Italy, Mythology

2. “Death fest”, (2022)
Series of two pictures, Collage

Work description
DEATHFEST is an artistic investigation that seeks to challenge the traditional understanding of death and cemeteries in the contemporary West. This project challenges Western cultural conventions that view death as a solemn, twilight experience: instead of adhering to this traditional view, DEATHFEST seeks to re-imagine the place of death, particularly the cemetery, as a space of joy and celebration, while at the same time critiquing the spectacularization of death. Inside the cemetery in Girifalco, a small town in Calabria, Noemi Comi inserted unusual elements such as balloons and disco lights. She also censored the faces of the deceased using plastic materials such as confetti, slime and glitter. The artist does not consider this project a provocation, but rather an invitation to reevaluate the way we perceive and interact with the space designated for the deceased.

Keywords
Culture of death, Cemetery, Spectacularization, Artistic intervention, Western perception, Celebration, Challenging conventionsù





























● Perla Sardella
“Prendere la parola”, (2019). Trailer: https://vimeo.com/369282129
Duration: 00:00:47:00 / HD, Colour, Dolby 5.1 / Dialogues (ITA)
Directed and edited by Perla Sardella
First camera Perla Sardella / second camera Sabrina Melis
Produced by Berenice Film / Marco Longo / Fulvio Lombardi
Audio mixing Tommaso Barbaro & Agit Utlu (Fullcode)
Color correction Simone Mazzoleni
Audio post-production Fullcode

Work description (1000/1500 characters)
Prendere la parola (Taking the Word) by Perla, produced in 2019 by Berenice Film, is a film-documentary that offers an intimate and respectful look at foreign women learning Italian during their classes, without hiding their mistakes or linguistic challenges. The author, Perla, steps in as a discreet observer during these learning sessions, respecting the women's process of self-determination in presenting themselves as they wish. The film aims to emphasize the importance of dialogue and communication as tools for empowerment and identity construction. Taking the Word was shaped by a quote from a review of the film "Black Diamond" by Pietro Bianchi, which provoked reflection on issues related to the power of words and their representation in people's stories. The title of this project is a deliberate choice that reveals deep shades of meaning, but more importantly to emphasize a gesture of considerable importance: the act of claiming speech. Contrary to the traditional idea that speaking is already available and requires no effort, the title suggests that communication requires a deliberate act of self-assertion, highlighting the centrality of language in the process of personal empowerment and community building. Perla's sensitivity is a key element that underscores her commitment to trying to address social and gender issues, using a variety of artistic forms to give voice to those who are often on the margins of society.

Taking the Word was received at various film festivals and was awarded best film in the "PROSPETTIVE" section at the FILMMAKER FESTIVAL (IT) in 2019.

Keywords
Visual storytelling, Power of words, Emancipation, Community, Language and identity, Self-determination, Social issues, Inclusion, Communication, Mutual understanding
● Pietro Lonoce
Selected artworks (2018 – 2023): (1) “Fiele”, (2) “Shën”, (3) “Monocromo”, (4) “Dive”, (5) “Prima di un’estate”, (6) “Italian Patterns Serie”.
Analog and digital photographies.

Work description
Pietro's artistic journey unfolds like a fascinating tale, in which narrative, colour and vision merge into a single experience. His work goes beyond the instant captured by the lens and becomes a visual layering that reveals the complexity of Apulian identity. Through his work, Pietro searches for seriality in his subjects, exploring what fascinates him. He shoots for himself, to preserve memories and to explore how in different contexts and moments the perception of a place can change: a unique look at rural Apulia, going beyond postcard images to reveal the true essence of this region. This seriality becomes an integral part of his artistic research, in which he documents daily life, traditions, food and popular culture, in a constant quest to capture the essence of a territory.

Fiele, his latest work, is a compelling immersion into the rites of Holy Week in Apulia. This photographic series, the result of three years of field research, transports us into a world of millenary traditions, symbolism and devotion. A key element of the project are the 'hooded souls', the brethren who wear ceremonial robes during the celebration of the ceremonies. These robes, which completely conceal individual identities, allow anyone, from the faithful to the miscreants, to participate in this moment of profound veneration and belonging to the community. The brethren, during this week, exorcise their pain through the continuous repetition of prayers, seeking solace in their devotion. The atmosphere during the rites is almost surreal, where respect and mystery merge into a mystical dimension. The funeral marches and the sound of the Troccola, an ancient musical instrument which is played by the crusader who opens the procession, create a background sound that recalls the pain and torment of the crucifixion. The slow, barefoot walk of the brothers becomes a metaphor for penance and redemption.

Keywords
Apulian identity, Daily life, Cultural traditions, Made in Italy, Religious rites, Holy Week, Hooded souls, Devotion, Religious symbolism, Surreal, Funeral marches, Sacred objects, Brotherhoods.

● Sofia Avaltroni - Avant Garden
1. “Ravionly Fans”, (2022). Serie of four pictures.
2. “Ros-ass-ry”, (2022). Serie of six pictures.
3. “Literally ‘ngul a mamt”, (2023)
Photo collage and digital editing

Work description
Sofia's work is distinguished by her deep research in the deconstruction of natural and corporeal subjects, the purpose of which is to generate new surreal creatures. Her artistic practice is characterized by a creative process that embraces aesthetic heterogeneity, resulting in often strikingly different visual outcomes. Particularly evident in Sofia's works is an ongoing exploration of the similarities between elements of nature, technological devices, food products, and objects that symbolize consumer’s culture. Through her manipulations, Sofia challenges visual and conceptual conventions, prompting the viewer to reflect on the interactions between human beings and their environment, and the cultural and social implications that result.
In Ravioly Fans, an obvious reference to the on-demand erotic site, Sofia deals with the conventions associated with intimacy and eroticism through a surprisingly provocative creation. With artistry, she shapes sexual objects using pasta, transforming everyday elements such as ravioli, linguine and orecchiette into symbols of desire and pleasure. This unusual and daring collection, which includes ravioli condoms and orecchiette cuffs, plays with the idea of fusing the ordinary with the sensual, challenging expectations of our relationship with food and sexuality.
Ros-ass-ry, on the other hand, is an intriguing exploration of the connections between religion and sensuality. Sofia creates thongs using rosaries, combining two iconic and often opposing elements: religious symbolism and sensual lingerie. This unusual fusion provokes deep reflection on the way society represents and regulates sexuality, while questioning the concepts of sin and pleasure through bold and provocative aesthetics. Literally 'ngul a mamt is a visual celebration of Napoli's Scudetto victory. Sofia captures the energy and enthusiasm of this historic moment, conveying the fervour and passion of soccer fans, and channelling the collective joy of soccer as a cultural phenomenon.

Keywords
Aesthetic Heterogeneity, Deflecting Conventions, Taboo, Consumer Culture, Religious Symbolism, Pop Culture, Provocation
● Francesco Bendini
1. Pasta series, (2019-2021) including: “Spaghetti” (2019), “Bavette” (2020), “Bucatini” (2020), “Capellini” (2021), “Spaghetti quadrati” (2021), “Linguine” (2021), and “Spaghettini” (2021). Concrete sculptures
2. “Senza titolo (Risotto allo zafferano con pancetta a cubetti)”, (2023). Stainless steel sculpture

Work description
The intriguing turning point in Francesco's artistic journey occurred in Bologna. It was here that he encountered an unexpected muse: a plate of Italian spaghetti number five. As he casually waited for the pasta to cook, inspiration struck. This mundane yet transformative moment marked the birth of Franesco’s fascination with everyday objects, and their cultural significance. The Pasta series, spanning from 2019 to 2021, includes various sculptural interpretations of pasta shapes, such as: Bavette, Bucatini, Capellini, Spaghetti Quadrati, Linguine, and Spaghettini. Francesco’s choice of materials and processes reflects his artistic evolution as well. Cement was his initial medium of choice, but today, he finds himself drawn to stainless steel. This shift, symbolized by a small sculpture, a cast of a saffron risotto from the supermarket, signifies a significant turning point in his artistic exploration. The object, minimally altered underneath, remains raw and untouched. In contrast, the upper surface is meticulously polished to transform it into a mirror.

Francesco’s artistic practice is a captivating blend of sculpture, performance, and video, enlivened by a distinctive dose of irony and sarcasm. His creative endeavours seamlessly fuse autobiographical elements with broader sociological, historical, and mechanistic influences. Within his work, one can discern a remarkable interplay between the carnivalesque and the quotidian, the natural and the cultural, and the sculptural and the object-oriented. Francesco’s exploration of these contrasting themes serves as a recurrent motif throughout his oeuvre, and the exploration leads him to relate a lighter to contemporary art, ultimately transforming it into an industrial object-an act of self-criticism that characterizes his dynamic approach.

Keywords
Contemporary Sculpture, Irony in art, Everyday objects, Cement sculptures, Stainless steel art, Cultural symbolism, Italian cuisine, Pasta art, Whimsical sculpture


● Sveva Crisafulli, Alice Minervini & Ilaria Leonetti
“Two hours ago I fell in love”
Contemporary art festival, series of events and performances
August 26, 27, 28, 2022
Novarese Colony, Rimini (IT)

Work description
Two Hours Ago I Fell in Love is a celebration of love and a challenge to the dark past of fascist Italy. This festival, conceived by founders and curators Sveva, Alice & Illaria and supported by a diverse and talented team of artists and researchers, transformed last year the former Colonia Novarese in Rimini, a symbol of fascist education and social constriction, into a vibrant and provocative stage. The goal is clear: to re-signficy this place by reappropriating this physical and symbolic space to dismantle the legacies of fascism, which still permeate todays’Italian society. The Colonia Novarese is an imposing building, a relic of the past that challenges anyone who encounters it, but Two Hours Ago I Fell in Love is not a simple attempt to preserve it. Indeed, it is a creative and conceptual occupation, a rebellion against abandonment and betrayal. Artists move through these structures with a sense of discovery, exploring the connections between physical space and historical memory. The temporary nature of the festival, which last year ran for only one weekend, underscores the idea of liberation and resistance, inviting the audience to actively participate in the creation of meaning.
One of the most fascinating aspects of Two Hours Ago I Fell in Love is its attack on gender norms and the fascist ideology of love: taking inspiration from thinkers such as Audre Lorde, the project promotes the idea that eroticism is a source of profound knowledge of self and others. The artists therefore sought to deconstruct "fascist love," which promoted physical supremacy, heteronormative love and the masculinization of eroticism, through performance, debate and collective practice. Two Hours Ago I Fell in Love invites audiences to explore pleasure as a form of activism, a direct challenge to the restrictions imposed by Italy's patriarchal culture, and an invitation to imagine a future of sexual freedom and gender identity, to imagine a better future together.

Keywords
Sexual freedom, Gender and identity, Eroticism, Alternative narrative, Participatory art, Historical memory, Deconstruction of fascist love, Critical dialogue, Reappropriation of space, Social imagery
Team
Project Manager & Curator - Martina Pizzigoni (She/They):
Martina Pizzigoni (Bergamo, *1998) is a multimedia artist. They obtained a BA in New Media Art Technologies at the Academy of Fine Arts in Venice, with a period of study at TU - Technological University Dublin between 2018 - 2019. In 2021, they graduated with an MA in Cultural Project Managment at the Università Cattolica and Politecnico di Milano, where they did an internship within the art collective Studio Azzurro. In 2022, they collaborated with the artist Yuval Avital, joining his creative team as an Art project developer within the Reggio Parma Festival 2022. Their artistic practice focuses on the creation of interactive experiences, while the main interest of their research is the context in which we live, with the social and anthropological implications that characterise our digitally dominated society. They are currently attending the MA Interface Culture programme at the Kunstuniversität Linz, (AT). They are part of the MAalex artistic and curatorial duo. Some of their latest exhibition include Ars Electronica Festival 2023, Linz (AT), Speculum Artium Festival, Trbovlje (SLO) and Pixxelpoint Festival 2023, Nova Gorica (SLO).

Contacts
IG: @martina.pizzigoni
Website: https://linktr.ee/Martypizzi
E-mail: pizzigoni.martina@gmail.com
Production Manager & Co-curator - Alex Fallica (They/them):
Alex Fallica (Lecce, *1998) is a new media artist. After a BA in New Media Art Technologies at the Academy of Fine Arts in Venice and a Master's Program in Cultural Project Management, by the Università Cattolica and Politecnico di Milano, they currently attending the Interface Cultures MA at the Kunstuniversität in Linz (AT). Since September 2021, they are also collaborating with the Milan-based multimedia art studio, Tokonoma. Not focusing on any specific media and being willing to experiment but having grown fond of videoart, installation and interactivity, their research focuses on socio-anthropological aspects of the human nature, with a profound interest of violence and violation both as physical and psychological phenomenon. Alex is also part of the artistic and curatorial duo MAalex; their latest exhibitions include Ars Electronica Festival 2023, Linz (AT), Speculum Artium Festival, Trbovlje (SLO) and Pixxelpoint Festival 2023, Nova Gorica (SLO).

Contacts
IG: @in.nihilum
Website: https://linktr.ee/alessia.fallica
E-mail: fallica.alessia1998@gmail.com

Art director & Graphic Designer - Sofia Talanti (They/Them):
Sofia Talanti (Florence, *1995) is an Italian digital artist and 3D designer based in Linz (AT). In 2018 they graduated in sculpture at the Academy of Fine Arts in Carrara (IT), and then worked in Netherlands as an assistant of the artist Rob Voerman. In 2019, they got an MA in Exhibit Design at the Institute for Art and Restoration of Palazzo Spinelli, Florence. They are currently attending the MA Interface Cultures in the University of Art and Design in Linz (AT). They exhibit in various digital programs and physical exhibitions across Italy and Europe, and their latest exhibitions include Ars Electronica Festival 2023, Linz (AT), Queer Pandemia curated by Ultraqueer and Base, Milano (IT), ReA! Art Fair (IT), TALES, curated by MiDi Motori Digitali, Daste Bergamo (IT), Desire Generation/DIGI-GXL, Dalton Superstore, London (UK) and in 2022 they were shortlisted for the video category of the competition Artefici del nostro Tempo, Venice (IT).

Contacts
IG: @sofuxia
Website: https://sofiatalanti.com/
E-mail: sofia.talanti@gmail.com
Brand Manager & Graphic Designer - Emma Silvana Tripaldi (She/Her):
Emma Silvana Tripaldi (Florence, *1997) is a multimedia artist and designer. Born and raised in Florence, she graduated in Graphic Design and Multimedia at the Free Academy of Fine Arts, Florence. Currently, she is continuing her artistic research in Austria, where she is pursuing the MA Interface Cultures at the Kunstuniversität Linz. Her artistic practice embraces different media including sound, photography, video and 3d rendering, with a focus on interactive aspects. Currently his artistic research is oriented on the tangible and communicative characteristics of sound in the context of the artwork and soundscape. Her latest exhibitions include Ars Electronica Festival 2023, Linz (AT), Speculum Artium Festival, Trbovlje (SLO) and Wip Festival 2023, Nicosia (CY).

Contacts
IG: @emmasilvanatrip
E-mail: emmasilvana@gmail.com

UI/UX Designer & Software Developer - Mattia Salamida (He/Him):
Mattia Salamida (Putignano, *1999), is a Milan-based UX and UI Designer who seamlessly blends creativity and technology to craft visually captivating and functional digital solutions. He earned a BA in Communication Design from Politecnico di Milano in 2021, were he continued by pursuing an MA in Digital Interaction Design. During his studies, he spent a period aboard at the University of Art and Design in Linz, (AT). Mattia’s goal is to push the boundaries of creativity by harnessing the power of innovative design principles by collaborating in the creation of innovative projects, such as his internships at Mam-e s.r.l.s., and the involvement in hackathons such as the NASA-SpaceAppChallenge2019, where his project DrownOrDie earned a spot among the top eight finalists. His dedication to the world of design also extends to volunteering experiences, including participation in three international editions of LIFE - Alberobello Light Festival, contributing to communication campaigns for various events.

Contacts
IG: @matmatt99
E-mail: mattia.salamida@gmail.com


Side events and programs
At the moment, Hyper*Espresso is only in the digital realm, just a click away. However, we are actively seeking partnerships with exhibition spaces on the Austrian and Italian territory to spread our message. In our Hyper*Future we see exhibitions, talks, podcasts, magazine... we will let you know 😉
Captions of exhibited works - Images and media (logos)
Inside the press kit you can find our logos, portraits of the artists and the team, and high-resolution images of the artworks. Please refer to file renaming for image captions and credits: Hyper*Espresso_The Wrong Biennale_Name of Artist_”Name of Work”, (Year).
For media inquiries
For further information, interviews or specific requests, please do not hesitate to contact us. We are happy to discuss any aspect of our project in more detail, and share with you the stories and visions of the artists who are part of it.

Martina Pizzigoni - Project Manager & Curator
Mobile phone: +39 342 085 1269
E-Mail: hyperespresso.studio@gmail.com

Useful links

Hyper*Espresso
Website: https://hyperespresso.com
E-mail: hyperespresso.studio@gmail.com
Instagram: @hyper.espresso
Facebook: facebook.com/hyperespresso.studio
Linkedin: https://www.linkedin.com/company/hyperespresso/

The Wrong Biennale
Website: https://thewrong.org/Biennale
E-mail: thewrongbiennale@gmail.com
Instagram: @thewrong.biennale

Pavillon’s ufficial tags
#HyperEspresso, #TheWrongBiennale2023
Hyper*FAQ

1. What is Hyper*Espresso?
Hyper*Espresso is an informal art collective, dedicated to investigating and reflecting on contemporary Italian society through different artistic expressions. This first project sees, in its future, the construction of a hyper*dynamic community of artists. The Hyper*Espresso team consists of Martina, Alex, Sofia, Emma and Mattia, five Italians who met abroad in Linz, Austria.
2. What is the main theme of your project?
Our project focuses on the exploration of relevant socio-cultural issues in Italy. It revolves around four main macro-topics: food, sex, politics and religion, but then expands and embraces all the nuances that may lie in between, such as agricultural work, food culture, issues of identity and cultural prejudices, stereotypes, consumerism, human rights... you name it, we have it.
3. What are your goals with this project?
We want to promote awareness and reflection on contemporary Italian society through art, encouraging debate and discussion on current issues. To do so, we make use of the privileged point of view of artists, who often succeed in conveying messages in a communicative manner that transcends that of mere words.
4. How did you involve the artists in the project?
The selection of artists was deliberately not made through an open call. Instead, we personally researched each creative, and also had the opportunity to make many new contacts with a number of talented artists who embraced the points, fundamental for us, of the Hyper*Manifesto.
5. How did you put the projects in dialogue between each other?
Being online means having the privilege of not being constrained by any physical space. This benefits us greatly, as we conceived each work to be interconnected with the others, approaching each other by themes, visual or conceptual elements. In order to create an active and interconnected browsing experience, we took a dynamic approach to the use of visual assets. We have chosen to use graphic and conceptual elements that are strongly inspired by Italianess, with a distinctly recognisable Italian visual identity.
6. How has your project been greeted so far?
We were grateful for the positive response we received from the people we told about Hyper. The first thing we did was to look for fundings, which we are actively doing, and a first, small, positive outcome came from our University. We hope to be able to develop collaborations in the future with entities that take this project to heart as much as we do.
7. How do you intend to involve the public in your exhibition?
The Hyper*Espresso Pavilion website structure is designed with a Hyperlink = Zapping dynamic, representing the idea of an exhibition space where everything is connected to everything. This dynamic will be explored on the website through the usage of assets, a clickable visual element that will act as a concrete link between the website’s pages. This concept reflects the approach we will take to create an immersive and surprising navigation experience for the visitor.
8. Can I put pineapple on pizza?
No, you may not. The Spaghetti Police will come and get you.
9. How can I participate or learn more about Hyper*Espresso?
We invite the public to visit our exhibition and follow our activities on social channels (Instagram, Facebook, Linkedin), where in the more or less near future it will also be possible to interact with the artists and participate in discussions. We will continue to publish new content throughout the duration of The Wrong, hoping to keep interest in our pavilion alive.


Sponsor, Partners & Patrols
Kunstuniversität Linz, Austria (AT)
The Wrong Biennale