Post 41 | History of bees

Published on Wednesday March 9th 2022 

Some pictures from the series The History of Bees I have recently exhibited at Trinity Buoy Wharf in London in the group show “ This Is Not A Party” curated by Central St Martins as part of the Interim Show program.

Link to pictures here

Post n 40 | Feb 27th - Mar 8th

Published on Wednesday March 9th

The resume of the period Fen 27 - Mar 8:

Around me: 2 major public transport strike (Milan & London) + more than 90% of BA flights canceled because of IT problems. 

Installing the Interim Show - This Is Not A Party has been much more intense and busy that I supposed. Three full days of debates and chat but also getting know students from other courses - my favorite are those from MA Art & Science. 

Pair collaboration: is in distance, we both very busy (catching up with life & work after the Unit 1 Assessment deadline). Is revealing of deeper connections between us! Give it more time

Ekart Tolle. His work is keep coming back to my work or my personal life - I depended from time to time. I will go through the 7 hours of audio recording of The Power of Now.  

To investigate: Post Covid / Long Covid loss of smell and taste. There is a guided program to re-learn to associate aroma and taste to food and objects.

I have found a lot of books, the main topic is the ethic in the relationship human-animal

Post n 39 | History speaks to artists

Published on Saturday February 26th 2022 at 5 01 PM

"History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."

Anselm Kiefer

Post n 38 | To walk at the perimeter of a geoglyph

Published on Sunday February 20 2022 at 11 03 PM


I’d like to walk for miles until I feel exhausted.

I will carefully follow the perimeter of this beautiful geoglyph.

Even if from my point of view I will never see the picture of it.

Walking is an aesthetic act.

Walking closely following someone else's aesthetic act changes completely the meaning of both of our actions.

I don’t see it entirely and the geoglyph is too big and complex to relate to the presence of one individual. I can’t see it and it is definitely unable to see me.

My action is definitely going to cross its path.

A geoglyph is meant to be seen entirely, from a certain distance.

Walking as an aesthetic act exists only in my memory or on the memories of those who will join me.

The documentation is something else. Is a report, a mediated representation of it.

I’d like to be a geoglyph myself.

An ongoing connection with the landscape and to be part of nature.

This is also the aim of land artists, not only to speak with the earth language and its vocabulary.

To be part of it.

To be the stone, the mud, the soil or the wood.

I’m deeply connected with those who lived and existed in Monte Verita’.

I wish I could say the same who created the geoglyph we are finally watching since we learnt how to fly. Honestly I just don’t.

I’m there, with my mind and with my heart in Monte Verita’: is political, is social and is spiritual.

I wish I could dig into my understanding with geoglyphs too but I can’t.

Intellectually I can put together notions and knowledge we have been developing to these symbols and to those civilisations who create them. Is fantastic and very interesting. I wouldn’t replicate anything like that. Ethically would be a cultural appropriation; another western artist meant to steal the magic from them. This is why I could follow its perimeter and walk by its side.

On the other hand, I can bring people together. Spend time together.

Deep our connection with nature. Listen to it.

Respond to it. I could bring back, even temporarily, the experience of Monte Verita’. Wherever it will be / I will be.

(I have worked on this piece for few days; watching the work, among others, of Hamilton, Liuming and delayed to publish it until today)

#walking #art #landart #geoglyph #liveact #performance #land

Post 37 | Exhausting pollination

Published on Saturday February 20 2022 at 10 44 PM 

I will focus on this topic for few days. Bees, especially honeybees, are very busy pollinators aimed to bring back to the nectar needed to feed their hive.

Bees often die in flight, when the wings are worn out by the exhausting work they are no longer able to bear the weight of the body and the nectar.

#pollination #bee #honey bee #intensiveagricolture

See pictures here 

Post n 36 | Bee Hive
Published on Friday February 18 2022

1 François Huber  - Nouvelles observations sur les abeilles (engraving by Pierre Huber), 1814

2 "Musgu" Bee-hive Clay Huts, Cameroon

3 Bee Hive Art Deco texture

4 My drawing as part of the research on the hive structure. Mixed media on paper, clay, natural pigments


#francoishuber #bee #engraving #hive #beehive #clay #huts #cameroon #africa #artdeco #artpractice #paper #drawing #watercolour #naturalpigments

See pictures here

Post n 35 | Wax shapes

Published on Monday February 14 2022 at 1 57 PM

I’m now working with some artisanal human made shapes of bee wax.

This product is meant for bee keeping. I’m not very sure about its use and how it is collocated in the hive.

Is beautiful to watch, its transparency. It also spread an amazing aroma.

It is hypnotic and I could watch it for hours and getting lost in the texture.

It looks a landscape but at the same time is suggesting me that is predictable and reliable, an archetype of what pushed human being to evolve its society.

Link to pictures

#bee #wax #artisan #humanmade #beekeeping #agricolture #art #texture #hexagon

Post n 34 | More than bees

Published on Monday February 14 2022 at 1 47 PM

Some frames from “More than bess”.

Link to pictures

#bee #biodiversity #biodiversitycrisis #bioregion #ecology #agricolture

Post n 33 | Monte Verità, art & life in a Bio-region 

Published on Monday February 14 2022 at 1 43 PM

I’ve heard about this experience at the beginning of the XX century and saw some documents in 2017 while I was working at Cabaret Voltaire in Zurich for my performance for Manifesta.

The history or Cabaret VoltaireMonte Verità are connected through the cordon of Dada. The experience of Monte Verità was total considering the overlapping of private and public life in the time & space of the community.

Currently at Museo del Novecento in Firenze there is the exhibition “MONTE VERITÀ. BACK TO NATURE”, I had a quick chat with one of the three curators and I hope I will attend the presentation of the catalogue in March.

In 1978, Harald Szeemann produced the itinerant exhibition “Monte Verità: the breasts of truth”. He collected most of the photographic documentation available and are now part of the museum dedicated to Monte Verità in Ascona (in the Italian canton in Switzerland). The museum is very pricy so it will take few weeks to me to save the money to go.

In nearly impossible to find old and original documentation of Szeemann’s exhibition so I relay on the upcoming publication from Museo del Novecento.

For me this is a unique opportunity to discover values and experiences of an expanded art practice in the context of an original Bio-region. This is probably one of the most genuine European experience in which the art practice, permaculture and social engagement encounter and influence each other.

The second experience (which is cronocoligally antecedent) I will soon research is also The Guild of St George, started by Ruskin.

Link to picture

#art #dada #bioregion #monteverità #nature #naturism #socialengagement #publicspace

Post n 32 | Bees in Agricolture & Ecology

Published on Saturday February 12 2022 at 11 44 PM


Honeybee was domesticated by humans thousands of years ago.

Honeybees plays an important role in the world economy as a pollinator of crops.

Western honeybee have been rising slowly in recent years; despite beekeepers reporting losses exceeding 40 percent of hives, beekeepers are becoming better at compensating for losses.

The decline of native bee species, such as bumblebees, will have negative impacts, ecologically and socially.

I’m researching on the multidisciplinary approach of BEE COLOGY


Worcester Polytechnic Institute's Department of Biology and Biotechnology, Massachusetts 

Prof. Robert Gegear

Pollinator decline is a problem in two very different but equally important contexts.

On Agriculture (managed bees) we've got honeybees and the loss of hives.

On the Ecological context (wild bees), we have many native pollinator species that are in rapid decline. 

Out of the thousands of wild pollinator species that we have, only two are economically important.

The vast majority of pollinators don't care about crop plants.

Conservation*’ strategies are completely neglecting native bees.

In the agricultural context, you need enough pollinators to get the pollinating done*”. Conservation in this context, care to have one pollinator species to replace honeybee losses, but they don't care about diversity - ie wild bees / bumblebees.

In the ecological context, the honeybee haven’t a role. The loss of honeybees would probably have a positive ecological impact because they are competitors for limited resources—pollen and nectar. 

One hive of honeybees has 10,000 individuals and can pull in 150 pounds' worth of honey. That's 150 pounds of nectar that could go to native pollinators.

A very good bumblebee hive may have 1,000 to 2,000 individuals.

The proportion is individuals competing with thousands.

“Now, if we start removing our native bees, we have a problem because they have a unique relationship with native flowering plants that is holding up ecosystems. It's keeping ecosystems healthy, it's maintaining diversity.

The bees visit the plants; the seeds and fruit feed birds; they feed small mammals, and so on. Then you've got things at the next trophic level eating those things. When we start to lose species in that context, we're talking about extinction and the loss of components which will eventually lead to ecosystem collapse.”

What is at risk is the natural chain of ecosystem services like water purification, decomposition, and pollination.

We don't know enough about the ecology of individual species and their relationship with flowering plants, and the relationship of those plants with animals at the next trophic level. Each species of insect pollinator has a special role to play in the ecosystem. But we don't know how important each of their roles actually is.

Managed bees of course have a place to live.

Wild bees have to find a place to overwinter, the queens have to find a place to nest in the spring, they have to find resources to produce male and queen bees that will mate and keep that population going. So there are all these points of vulnerability that you see in the wild side.

All the concern, unpredictability of weather conditions etc is also what made human being move from wild nature to more organised settlements. I can see the privilege of a safer life for honeybees compared to the uncertain in which wild bees are left.

 One of the misconceptions about bee decline is that all bees are declining.

Some bees are doing better than they have done historically, they're expanding their geographic ranges.

The competition with bees that are doing better is also contributing to the decline of many other species.

In urban and agricultural areas, the use of pesticides clearly negatively affect the health of wild bees and other insect pollinators.

pathogen spilloveris a kind of decease coming from areas of managed bees and spread to wild pollinators too, with evidence that infections are moving from honeybees to bumblebees.

Habitat loss from the wild bee side: such as nest site availability, overwintering availability and nectar and pollen sources.

+ cascading negative effect of pollinator decline throughout the ecosystem and biodiversity.


*’ Conservation Biology is a multidisciplinary science that has developed to address the loss of biological diversity 

*” From what I found in Maja Lunde’s book there is a method to define a good pollination campaign: two people watch two random spots of field with crop, which should be about 1 mt x 1 mt each, if they see see more than 2 bees each flying from flowers and pollinating, than they get the rate of 2,5 and more which is a good indicator. 

POST n 31 | mixed media painting on drypoint

Published on Sat February 12th 2022 at 7 31 PM

I was bored to producing more drypoint and being unable to print it and see the final work and at the same time find it very hard to take pictures, post them and monitoring the production - ie are pieces of transparent perspex from a pack of shits I found in my Italian storage, are probably 6 / 7 years old. I can still use them. I feel also guilty for having contributed to the oil based products market.

I started to paint the drypoint about a week / ten days ago. It reminds me the E 6 film colour (especially the 120 mm) which gives the positive of the image and keeps the white areas completely transparent.

I’m finally using some of the pigments I’ve been making for weeks now. The more are sugary the better! Otherwise I have to add glue - ie I found a producer of organic vinavil.

This is giving me the motivation to keep producing more drypoint. I can see a final work, I can use it to archive and I can progress.

At the moment most of them are about the anatomy of bees, natural hives, chemical structures of neonicotinoids pesticides.

There is a deep connection between the geometrical shapes of the hives and the chemical structure of those pesticide; the hexagon is present in the bees eyes, the hive, the chemicals.

I’m using a lot the engravings produced by Francois Huber’s son (he was nearly blind) published in his books. I just bought New Observations on the Natural History of Bees - didn’t arrived yet!

Btw, I find myself grounded in this research practice method, which for me is based on reading, looking for further multidisciplinary informations/connections/experiences and then drawing the resume of it in drypoint. 

Note: I need to make bigger drypoint because I’m driving mad to stay into the traces made. At least it should be A3 or +

Link to pictures

POST n 30 | On Jainer Esbell’s Kanaimés

Published on Wednesday February 9th 2022 at 10 37 PM 

When invited by the Bienal [Bienal of Sao Paulo], I saw this issue of conflict in the form of the current policy, that subjects us to external forces and values, which are egemonic. There is a War of the Worlds for territories[ ie Amazonia], for ways of thinking and for resources”.


A Guerra dos Kanaimés (2019 - 2020)

  • Consists of 11 canvases 145 x 110 cm each
  • Black matt background
  • Bright colours for the figures, create an atmosphere between lysergic and cosmological.
  • Entities floating over the landscapes. In transition between material and spiritual

In the MAKUKI cosmogony, the KANAIMÉS is a being linked to metamorphosis; which speaks with the immaterial magical world.

When embodied in a person, he becomes another creature: predator or protector.

It’s directly linked to SOCIAL JUSTICE, it is justified do it with violence if is what the context requests.  

In indigenous cosmogonies, there is no separation between the individual and the collective, the spiritual and the material. *Reminds me of Naples and the South of Italy in general.

Post n 29 | Curating notes & sketches

Published on Tuesday February 8th 2022 at 5 02 PM 

SL | Sketchbook with notes from sessions & lectures (A4 Portrait)

BS | Black Sketchbook (A3 Landscape)

PFA | Plastic folder with articles (A4 Portrait)

PFD | Plastic folder with drypoint (A4 Portrait)

OE | On Esbell (A4 Portrait)

BE | Sketchbook Watercolour on Bees (A4 Portrait)

VN | Notebook with various notes (A4 Portrait)

BI | Notebook with bibliographic notes (A4 Portrait)

Post n 28 | Ruskin - Huber - Swammerdam

Published on Tuesday February 8th 2022 at 4 58 PM

There is an element that connect them. As probably many others, they were at the same time into their time and further; they embraced some opportunity their time gave them while being aware and very critical of the political and social challenges. 

Ruskin and Swammerdam, despite their opposite belief, both lived their very personal view: the first very political, a pronto-socialist and the second very spiritual. Which means that both very critical of the capitalist / liberalist culture. 

Ruskin and Huber, both expressed concern for nature, despite the predominant culture was mainly focused on careers and establish a social recognition in the cities. Ruskin was concern of environment while Huber worked hard to create a hive that was careful of the bees and their wellbeing, in opposite with previous human made hive which killed bees and their babies to collect the honey.

Ruskin, Huber and Swammerdam had a pantheistic view on life and on nature. For different reasons and beliefs, their researchers were an expression of their time and also a reaction against its philosophy. I see how the reaction to a historical process end to reaffirm some of the principals of that process itself.  

Ruskin’s project was basically a Bio-region, a criticism of the industrial revolution - ie London as a Techno-regiion.

Post n 27 | 2nd Tutorial with Jonathan Kearney _ January 27th

Publish on Wednesday February 2nd 2022 at 3 47 PM

Since I started the Master I’m expanding my research on what is the Public Space means in this context. Both the Climate & Biodiversity Crisis have inspired me to look at Nature and how is connected to the main topic of my research. This conducted me to reflect on the impact of art my practice to the environment and how to make it ecological and accessible. 

My interests to wild nature and permaculture have been increasing considerably. 

The session of January 26th ’22 was incredibly helpful for me to see that is ok to be where I am with my art practice and my research: 

  1. I’m intellectually overstimulated and informed by the readings, mainly articles and interviews, that I feel my art practice is not capable to follow the track.
  2. Despite my feeling to be overwhelmed by the amount of new information I’m working a lot with drypoint.
  3. The current situation, with both Pandemic and some personal issues are forcing me to work with a different approach to the public space and to deal also with my expectations and frustrations about the lack of social connections.













                           ————> DATA (FROM BORDERS CONTROL TO DNA MAPPING, LINA WOLFF)

                           ————> RESOURCES 

                           ————>  HUMAN CAPITAL

                           ————> NATURE 

Further posts will come on those topics ]

The antagonistic relationship Techno-region and Bio-regions is central of both my research and my art practice. 

I felt the need to back to the origin of this phenomenon. If the historical frame is the European Colonialism and the beginning of the Industrial Revolution. The upcoming Modern Rationalism chanted the connection of people to their ancenstry; slowly communities lost their connection and cultural sense of belonging to the territories they were originally from and living. Then it was much easier for them to move to places in proximity of the factories; this is the beginning of life in urban and sub-urban settlements. People use their work in manufactures to make the money to buy their food and pay their bills. In other words, the labour is separating them from the land, which until now provided them a direct source of food. This in politically and economically the end of Feudalism and the raising of Capitalism. Most of those cities, needed resources and materials to transform and to produce in good to sell to the market and export.

Between 1980 / 1890 Colonialism (ie the system of Techno-regions) adopted an #intensive strategy of extraction of resources from remote, un-militarised, un-weaponised colonies (Bio-regions). #extractivism 

Furthermore, more Techo-regions was established between the XIX and the first decades of the XX centuries, from Sao Paulo to Kolkata, new centres was following the model of Western European cities such as London, Paris, Turin, Essen etc

I’m very fascinated about DADA. Most recently I came across Elsa von Freytag-Loringhoven's utilization of street debris/found objects in her own artworks. 

Her “KIND OF LIVING COLLAGE” has been incredibly influential for generation of artists - ie new-dada / new-realism of the ‘60s & ‘70s, from Raushemberg to Fluxus.

Her practice is an investigation of the possibilities of a “Irrational Modernism”, which is opposing to the mainstream Rational Modernism. I love the fact that the first was born and grown as a contradiction inside of the second.

Jonathan suggested me also to look at some similarities between today and when DADA appeared in the scenery - ie political instability and the “Spanish flue” vs Covid 19. 


I had the opportunity to chat privately with a Brazilian artist and curator who works at MASP is Sao Paulo (I have to ask his permission to quote his name!) who have met #JainerEsbell after he presented his body of work at the Sao Paulo Bienniale & he curated in the same context the group exhibition presenting indigenous contemporary artists. 

I will dedicate a whole post on the Cosmovision behind his series “A Guerra dos Kanaimes“.

  ++ Example of a combination of Climate Crisis and extractives from a Techno-region to generate an ecological crisis. On early 2000’s the Sundarbans archipelago in Gange Delta - in the Bay of Bengal - was the largest Mangrove Forest.

The inhabitants of the area were experiencing the disappearing of their home because of sea level rising and salt water erosion. Sunderbans are a vulnerable areas to climate crisis.

Rising sea level + extreme weather events = decline of the ecology of the area. The land is salty and arid. The population are also drilling for groundwater which is causing the islands to sink faster.



IN SOUTH AMERICA —> Pachamama (Earth Mother)





  From Maya Lunde’s book BIENES HISTORE (the history of bees - I’m reading the Italian version Un mondo senz’api) I get the inspiration to look at the case of bees losing their abilities to feed. 

I’m reading the dedicated report from European Commission on Food Safety, fully dedicated on Neonicotinoids. 

Furthermore I have some other articles of the legal cases lost by Bayer on this pesticide.  

Category: tutorials

Post n 26 | Colonialism - Climate Crisis

Published on Wednesday January 26th 2022 at 

Amitav Ghosh

[The Nutmeg's Curse: The work is about the origin of the climate crisis identified with the moment where total exploitation – of both lands and people – became the methodology of growth in the Global economy. The Climate Crisis didn't started with the widespread use of coal at the beginning of the Industrial Age in the 18th century and worsened with the mass adoption of oil and natural gas in the 20th. Started at least three centuries back, to the start of European colonialism in the 15th century. (1621 massacre by Dutch invaders determined to impose a monopoly on nutmeg cultivation and trade in the Banda islands in today’s Indonesia. Not only do the Dutch systematically depopulate the islands through genocide, they also try their best to bring nutmeg cultivation into plantation mode. Joydeep Gupta)

The "target" of colonial europeans wasn't the population but their understanding of Earth and their sense of belonging with it - which continues to the present day by looking at nature as a ‘resource’ to exploit.

Expansion through deforestation, dam building, canal cutting – in short, terraforming, has brought us repeated disasters, of which Covid-19 is only the latest manifestation. The origin of the problem is looking at Earth as an inert object to be exploited to the maximum.

There have always been challenges to the way European colonialists looked at other civilisations and at Earth. The invaders and their myriad backers in the fields of economics, politics, anthropology, philosophy, literature, technology, physics, chemistry, biology have dominated global intellectual discourse.

Other points of view: Pachamama (Earth Mother) Current problem: developing world are following the same extractive model as the European colonisers.]




In early 2000s he was in the Sunderbans - archipelago in Gange's Delta - in the Bay of Bengal. Largest Mangrove forest. The inhabitants of the area were experiencing the diseappering of their homes because of both sea level rising and salt water erosion. Which maakes Suderbans one of the most vulnerable area to climate crisis. Rising sea levels are eating the islands & the extreme weather events are also destroing the biodiversity and the ecology, becaose the land is getting more and more salty & arid. Drilling for growndwater is accelerating the process of sinking of the islands.

The work is about the origin of the climate crisis identified with the moment where total exploitation – of both lands and people – became the methodology of growth in the Global economy.

PS I'd like to understand more what is the impact also of the pollution in the Gange river to this area. I'd like to see the incidents of cancer in the population anf if data about the presence of microplastic are available.  





Post n 25 | Three cases of Bioregions becoming Techno-region between XVI and XVIII centuries

Published on Saturday January 22nd 2022 at 12 50 PM

Image here

Post n 24 | A new Techno-region

Published on Friday January 21st 2022 at 7 52 PM

Indonesia will build a new capital which will be called Nusantara - translates as 'archipelago' - to replace its former capital Jakarta, because it’s sinking.

The rising of sea level as Jakarta sinks at an average of about 7.5 centimeters per year.

Nusantara will be build in East Kalimantan, on the island of Borneo, where the tropical forests of Borneo are currently found, home to rare species such as orangutan, Malayan bear and nasica. 

This new Techno-region due to deforestation will drive in danger the biodiversity  of the whole region. 

Post 23 | Unconditional Liberated Handwriting

Published on Friday January 21st 2022 at 6 18 PM

"I’m checking my ability to write for 5 minutes. Being able to write is what I really found difficult in the last few years and also what I needed the most. My intuition, my sharp inner imagination felt trapped by the need of communicating what I’m doing. I have to let people know what I have in my mind, , I have to find a vocabulary to reduce my imagination and my vision in words. There is something that alway get lost in this translation. I find hard to see colors and shapes in the words I’m using. What about those specific emotions I’m feeling? Why they look so different from my own words? My words look so cold."

Image here

Post n 22 | Drypoint series as a storyboard of my research

Published on Thursday January 20th 2022 at 12 49 PM

Looking back at the last weeks - I’d say so far since I’ve started the MA - I found my practice has changed deeply. This method of an art practice linked with a research let emerge in me the inner need to understand phenomenon. I’m not happy with a superficial knowledge with what I deal. I drive mad until I get in touch with the meaning or what are the implications or why.

So far I’m impressed to see that drawing and especially etching and drypoint have replaced sculpture or some king of spacial installation based intervention. I’m finding myself incredibly satisfied by drawing some elements or details linked with my current readings. I like that through this practice my mind can see, digest and metabolise those very complex and multidisciplinary topics.

I know that sculpture will be the next steep but at the moment - being unable to experiment in the context of the public space - I need to understand things and make them mine before letting them go again.

I believe that drawing, despite the challenge of its bi-dimensional limitation, is enabling my research to progress. Is becoming the storyboard of what I will do next.  

Post n 21 | On Jaider Esbell

Published on Wednesday January 19th 2022 at 11 24 PM

During the last 4 weeks, in parallel with my aborted project in East London, I progressed with my research on the life & work of Jaider Esbell. I’ve been in touch with artists & curators from Brazil who interviewed and met him recently before he died. Btw his death is still a mystery but as far I understood he was travelling from Sao Paulo to another place (not sure if it was his village).

Some of the following reflections are the results of readings and chats with people he knew & met. Some are in English and some are in Italian. I will translate all of them in one more organised statement.

1) C’e’ un dialogo profondo anche se antagonistico tra la sua origine indigena e la volontà di appartenere alla contemporaneità del Mondo, che passa attraverso il confronto con l’occidente e la storia dell’arte Europea. 

La pittura su tela (e non su materiali e oggetti di uso comene) ci indica una precisa dialettica con ciò che l’oggetto d’arte significa nelle civiltà occidentali. I suoi soggetti ci guardano, cosi come ci guardano i ritratti nella pittura dal Rinascimento in poi. Sembrano quindi aver abbandonato la ieratica “presenza” pur nell’astrazione della figurazione indigena.

2)  To understand his last series of work is necessary to read a specific cosmology. This is what I’m allowed to share.

La guerra di Kanaimés (2020) è la serie di dipinti realizzati da Esbell per il contesto della 34a Biennale. In un susseguirsi di scene allegoriche, evoca l’idea dei Kanaimés – solitamente descritti come spiriti fatali che provocano la morte di chi li incontra – e la proietta sui conflitti contemporanei vissuti dal popolo Macuxi e dai suoi parenti, che sono costantemente attaccati da offensive, ufficiali e non ufficiali che mirano allo sfruttamento predatorio delle loro terre. 

A seconda delle loro alleanze, i Kanaimé possono essere intesi come protettori o predatori. In un contesto segnato da minacce dirette e velate, in cui ciò che uccide viene spesso presentato come un rimedio, Esbell ripensa alla concreta presenza di questi spiriti nella vita e nella lotta del popolo Macuxi.

The elders of the Makuxi people tell that, in ancient times, Surarî’ was abandoned in the bush by a hunter. Missing him, Surarî’ became a person and decided to ascend to the skies after his master. For that, he asked for help from a small hawk who took him on his back. When he got there, Surarî ’transformed again, gaining a star body. He became responsible for bringing the rains and remembering that, after the dry season, there will still be another possible time, that of water.

Surarî’ is the word in the Makuxi language for moquém, a jirau used to dehydrate and smoke meat. The technique of roasting, a way of conserving food and facilitating its transport from hunting and fishing places to villages, is good for thinking about the transit of supplies and knowledge that crosses not only different spaces, but also different worlds. It is transits like these that constitute the movements of contemporary indigenous art. The rain caused by Surarî’ is a way of conceiving the actions of indigenous artists as a vehicle between different temporalities and a way of producing and updating relationships.

3) Moquém_Surarî: contemporary indigenous art presents works by 34 indigenous artists who embody transformations, visual translations of their cosmologies and narratives, making present the temporal depth that underlies their practices. The works attest that the time of contemporary indigenous art is not hostage to the past. Ancestry is mobilized in the now, reconfiguring enunciative positions and power relations to produce other forms of encounter between worlds not based on colonial extractivisms.

4) Combinando pittura, scrittura, disegno, installazione e performance, il suo lavoro intreccia miti indigeni, critiche alla cultura egemonica e preoccupazioni socio-ambientali, a volte derivanti da uno scopo poetico, a volte da una posizione più chiaramente politica e attivista. Nella performance Letter of Indigenous Peoples to Capitalism (2019), tenutasi a Ginevra, Esbell ha consegnato ai rappresentanti della banca UBS una lettera in difesa del diritto a una vita dignitosa per tutti gli esseri che abitano il pianeta. Il tono profetico della lettera riprende il pensiero dello sciamano Davi Kopenawa, che profetizza che il cielo crollerà sulle nostre teste. Per Esbell, la natura ci sta avvertendo della catastrofe e dovremmo ascoltare con più attenzione. La performance è un gesto per la giustizia sociale e per la visibilità dei popoli della foresta.

Post n 20 |NEW START

Wednesday 19 January 2022 at 10 49 PM

I have worked very hard between December and early January for a commissioned project based on social engagement in East London. We had several conversation and videochats following weeks of research. Despite all the energy I had to cancel my participation for personal reasons. I've been very sad for the outcome of this experience. I've been doubting myself a lot. I have improved my research forthe MA but I didn't updated my blog so is time for doing it.

Post n 19 | ISN'T THE WAY IT IS

Thursday 16 December 2021 at 4 04 PM

***This is the transcription from the 12 hours happening / Digital Open Studio as part of GIORNATA DEL CONTEMPORANEO 2021 - AMACI ***


December 11th 2021

h. 10.00 AM - 10.00 PM  

In the context of “Giornata del Contemporaneo”, promoted by AMACI, Andrea Abbatangelo is thrilled to present some passages of his current research at Central St Martins in London.

Andrea Abbatangelo is the recipient of the UAL Scholarship 2021 and works with public art and take an expanded definition that involves also spatial installation, performance and sculpture.

Since his first solo exhibition W.A.Y. - What About You (2007) at CAOS in Terni (Italy) up to the most recent Project RadioLondon _ Harare (2018), Percorso Pubblico (2019), and Prosperttive (2020), expressed a natural ability to transform tensions into artistic energy.

In recent months, his reflection on public space includes, among other topics, the de-colonial of environmentalism.

By following the link you will access a dedicated web page, so can participate in a digital interaction  which will start at 10.00 AM and will end at 10.00 PM CET. New content will be released every hour and followed by a chat. A login link will also be present in the Bio of his Instagram.


h 10.00

Who is J.E.?

h 10.20

This is Jaider Esbell

he is an Artist, he was born in Roraima (Brazil)

and he is originary from the indigenous group Macuxi

As an Indigenous Contemporary Artist

he crossed platforms of what is political or belong to his cosmovision of the spirituality

or doing something in and for the art system

He moved fluently from one another

doing this he fought back the meaning of colonialism

Framing the indigeous culture in the context of contemporary art

to preserve it from modern colonialism

to protect its sacred cosmology and environmental communion

This is the role of Indigenous Contemporary Artists

To show it and to protect its mystery from us

From western art market and from western artists

He died a month ago in Sao Paulo at the age of 42

he will never die, a generation of indigeous artist will raise

h 11.00

Jaider Esbell’s legacy is represented

by his last public contribution in life:

a group exhibition he curated at MAM Museum in Sao Paulo

the project is in the context of Sao Paulo Biennial

Esbell paid most of the expenses of the project

Moquém_Surarî: arte indígena contemporânea

34 indigenous contemporary artists

who embody visual translations of their cosmologies and narratives,

making present the temporal depth that underlies their practices.

Contemporary indigenous art is not hostage to the past.

Ancestry is mobilised in the now, reconfiguring enunciative positions

and power relations to produce other forms of encounter between worlds not based on colonial extractivisms.

To understand the complicate and antagonistic relationship

between colonialism and indigenous culture

Sao Paulo Bienniale is an event that take place in

what was Guarani territory

h 12.00

Guarani were one of the first populations to be contacted by Europeans when they arrived in South America some 500 years ago.

Today, about 51,000 Guarani live in Brazil, in seven different states.

They are the largest indigenous people in the country. Other groups live in neighboring countries: Paraguay, Bolivia and Argentina.

Sugar cane plantations that have occupied much of their ancestral lands are employing

Guarani, adults and kids.

They are deeply spiritual people. Many communities have a house of prayer and a religious leader, the pajé, whose authority depends only on its prestige and authority.

Guarani have always been looking for a land without pain, or "Land without Demon", where souls can rest in peace after death.

For hundreds of years the Guarani have traveled vast distances in search of this land.

In the 16th century, a chronicler noted their "constant desire to find new lands, in which they believe they will find immortality and infinite rest."

Deeply touched by the loss of almost all of their territory in the last century, the Guarani suffer a suicide rate that is unmatched in South America.

The problems are particularly acute in Mato Grosso do Sul, where the Guarani once occupied some 350,000 square kilometers of forest and plains.

Guarani cosmovision, language and history is actively erased by a colonial education curriculum. In São Paulo, Brazil’s biggest city, descendants of the original inhabitants live in invisibility and struggle to keep their traditions, despite São Paulo’s celebrated cultural diversity.

h 13.00

This is the implication of over-consumption of resources.

It started a long time ago.

“Entrepreneurial capital historically emerged in the modern bourgeois city, transforming the economic and social relations of agrarian economies. As its markets penetrated

the people's living place and working place, the city came to invade the countryside, the market to dominate the farm, the mind worker to control the hand worker, and the capitalist

metropole to imperialize the pre-capitalist periphery.” T.W. Luke

Hyper-regions originated in sites where industrial revolution settled and established the “ephermaculture” (opposite of “permaculture”), with its dependence on constantly increasing, wasteful mass consumption.

Between 1880’s and 1890’s Europeans and Northern Americans entrepreneurs found fewer and fewer pre-capitalist eco-regions to penetrate commercially.

Every eco-region (from the Antarctic to Africa to the Arctic to Asia to the Antipodes) soon was mapped to its fullest extent for any economic utility or “ecological possibility”, which means resources.

Funding archaeology, geography, anthropology and palaeontology campaigns, Entrepreneurial Capital gradually rewrote the borders and political / economical competences on the surface of the planet. The modern system of European Nations extended outward from the original Eurocentric orbit of commercial exchange and captured the inhabitants of numerous non-European zones.

Until every frontier was closed and all unexplored territories were mapped.

h 14.00

For a moment, let's focus on what it means “to map”.

Forget for a second that we aim to research, to preserve, to collect.

forget we purely aim to research, identify and catalogue.

A map tells us what/who/whom is there and what/who/whom isn't.

The focus is generally on what/who/whom IS

not on what/who/whom ISN'T

A map doesn't gives us a how/why this or those what/who/whom ISN'T there

This is an evidence

A map is factual

is also elusive

Imagine a question which embrace also part of the answer

Is that genuine or manipulative?

Can we see now a Map and what they show us (or erase) differently?

h 15.00

What is outside our maps?

Here there are two examples that, among others

could help us to understand what is on a daily base

excluded or ignored  

For example, QTBIPOC is the acronimous of Queer and Transgender People of Color. Is “an intentional space to build community, envision and work toward our liberation, and have a chance to decompress and enjoy creative expression. This space exists as a disruption to the White classist hetero-normative standards of the institutions we are engaging with and part of and creates a means of coalition building between QTBIPOC on campus and in community”.

Source: UCLA

Global South*, is meant to refer to:

1 an alternative to the term “Third World", meaning to economically disadvantaged nation-states and as a post-cold war.

Btw, most recently this term is also employed in a post-national sense to address spaces and peoples negatively impacted by contemporary capitalist globalization.

2 captures a deterritorialized geography of capitalism’s externalities and means to account for subjugated peoples within the borders of wealthier countries.

There are economic Souths in the geographic North and Norths in the geographic South.

3 it refers to a transnational political subject that results from a shared experience of subjugation under contemporary global capitalism.

The use of the Global South to refer to a political subjectivity draws from the rhetoric of the so-called Third World Project, or the non-aligned and radical internationalist discourses of the cold war. In this sense, the Global South may productively be considered a direct response to the category of postcoloniality in that it captures both a political collectivity and ideological formulation that arises from lateral solidarities among the world’s multiple Souths and moves beyond the analysis of the operation of power through colonial difference towards networked theories of power within contemporary global capitalism.

Source: Virginia University

By the way

I could include the term

Global Majority to this note too

h 16.00

Agnes Denes, among tens of very inspiring works

She also addressed the topic of mapping and its implications.

This is from the series of studies "Map Projections", in which topography interacts with isometric projection, (a method of visually representing three-dimensional objects in the two-dimensional format) of a technical sketch.

Here, she projects an accurate geographical rendering of the globe onto an unexpected structure—the form of a snail. This and other works from the series are aimed

to reimagine to earth and the place of humans on it.

As she remarked, “longitude and latitude lines were unravelled, points of intersection cut, continents allowed to drift, gravity tampered with [and] earth mass altered.”  

Image here

h 17.00

The art system is an entity aimed to map and lead the arts

this map includes also the makers and those whom collaborate in the making

And again this map excludes. To fit “in” is one of the main struggle of contemporary artists

I’m personally very comfortable (and versatile) on working inside or outside this map

I’m enjoying myself a lot in the context of public art for example

I’ve been very privileged to work in some periferic places

where art really matter for their communities

There to make art is something more than being in a map

Because the map wouldn’t include them in any case.

It was relevant to me as it was for them.

We were the art system even if there wasn’t wifi

Even if we was outside the frame; the big lens of the art system  

h 18.00

For Jaider Esbell

to curate an exhibition at the MAM Museum,

in São Paulo (former Guarani territory),

in the context of Sao Paulo Biennial

meant to give international recognition to

Indigenous Contemporary Art

and the belonging of indigenous people to contemporary World

Inscribing Indigenous Contemporary Art in the maps

means at the same time to show to the World their Cosmovisions

and to protect them from cultural appropriation.

Despite he died, his legacy will stay with us

34 indigenous contemporary artists had the occasion

to exhibit their works and present / preserve

their identity and all their ancestry brought them  

We can expand the meaning of mapping

we can engage that what/who/whom have been previously cut out from the map

We can’t dictate the terms of it

we don’t rule there

h 19.00


As a form of Art that embrace also Activism

Differently from propaganda which is based on opinions

Artivism means to take time to understand the dynamics of every action.

Let's start with Nature and Environmentalism

The perpetual destruction of nature originated with human desire to control the environment. The failure of controlling or predicting the future needed the development of infrastructures capable of protecting the inhabitants, their memories but also their accumulated treasury.  

This greed for power developed, the commercialization of art in the design salons and artistic studios of every individual imagination mobilised by the market constantly, so stimulated individuals to desire more. The revolutionary development of the commercial arts over the past century parallels in lockstep the emergence of  the hyper-regions.

Commercial art and commercialised artists are simply one of the professional / technical expressions of the aestheticized commerce that rests at the core of late capitalism, and that liberates new wants and mobilises fresh desires in order to justify corporate capital- ism's wasteful consumption of natural resources

Without arts and design, epherma-culture will be an intolerable environment to live in.

As artists we can choose the level of collusion with epherma-culture in the hyper-regions.

Through our choices and actions we can establish spots of eco-regions inside hyper-regions.

This space, for example, is aimed to promote awareness on choices of other artists.

h 20.00

This is a detail from my work “Forms & Objects for a Post-Kingdom”

I’ve started the production of the four elements days after the Brexit Referendum

It was June 2016

I was also working on my solo performance at Cabaret Voltaire in Zurich

for Manifesta 11

The burn of watching nationalism raising and hitting so hard was consuming me

Being an european citizen in a post-brexit UK wasn’t easy at all

It was personal and political at the same time

I thought there was communities historically impacted

by nationalisms, structural racism or colonial espoliations  

This is how I started my work on this topic

This is how I imagined a “Post-Kingdom”; the life after the hyper-region’s culture.

Image here

h 21.00

Now you tell me

here in DM


follow the link in Bio

h 22.00

Thank you all

Link to AMACI website


December 7th 2021 at 6 28 PM

I found this amazing yellow polline, realised by an evergreen three (I’ll find the name), its spread everywhere, also the rain helped. I see now if I can extract the polline and fix & stabilise it as a natural pigment. Fingers crossed! Note: I remember an artist made a huge installation / durational performance using a yellow pigment or a yellow polline, I can’t remember his name 

Image here

Post n 17 | WHY AM I HERE?

Monday 7 December 2021 at 6 24 PM

When I applied to this MA I had several questions I couldn’t answer myself.

I’ve joined so many platforms, peers and 121 zoom sessions but nothing.

What is my place, as an artist, in this world?

What is my context? 

What is the role of art? What is its relation with the art system?

Will the arts survive the Contemporary art system?

What about the digital then?

Is it sustainable? It will last? Is it democratic?

I’m concern of its collusion with new power / new mafia? ie Brexit - Cambridge Analytica or Twitter - Trump or Snapchat & Whatsapp - Bolzonaro. Ok, social media is not the entire digital. This is a wake up call: we all (I) need to be digitally literate. 

Is it my “ethical commitment” enough or do I need to get out of my bubble and do myself a lot of the “dirty job*” needed for the systemic change I’m looking for? *Define “dirty job”: speak openly and act in society about what is my place about climate crisi/social injustice/systemic racism or homophobia etc

What is the difference between being political and just making echo to “political propaganda” in art?

As far as I am understanding these days, I don’t have answer but even more questions. Is both frustrating and vital atm.

My ongoing questions are: what is the public space? Is it nature (wild nature, no parks or human conducted “nature’) included in the public realm? If wild nature is also a public space, what is the role of digital (& digital arts) in this context? Would digital art interacts consciously in nature?

Will digital art help me to recover some hidden memories of Bioregion? 

How can I collect community memories from bio-regions that are already deeply transformed/affected/erased by techno-regions?       

My practice will investigate what the public space meant in Bio-regions and what means now in Techno-regions and how it would be translated in the perspective of Eco-regions.

Am I still focused on trying to “fix” the present or already envisioning some possibilities for the future?


Monday 1 December 2021 at 10 50 AM

In 1980s and 1980s capitalist entrepreneurs found fewer and fewer pre-capitalist bioregions to penetrate commercially. Capitalism could no longer expand extensively. It therefore made a decisive shift to intensive expansion.

Comment: “positivism” is in the air, so the two guys there are so proud of what they’ve just done. I’m aware to be very judgemental atm

Image here

Post n 15 | RESUME OF THE WEEK 21 - 27 November

Monday 1 December 2021 at 10 50 AM

Monday 22 to Wednesday 24 _ Research on T.W. Luke’s definitions of Bioregions and Technoregions.

Bioregions are the complex sets of social and ecological connections that cultures have to particular lands, waters, plants, animals, peoples, and climates.  

Technoregions ignore almost all concrete cultural ties to local land, water, plants, animals, climate, and peoples in order to respecify social space techno-economically according to the demands of global capitalist exchange.

Thursday 25 _ MA session with Julia Flood: the library is a very articulated system! A couple of hours after the session I had a zoom as a Whitechapel member with Emma Talbot. I really loved to see Rome (where she’s been in residency for the last six months); Reggio Emilia (Fondazione Maramarotti); my beloved Sicily etc.

Friday 26 to Sunday 28 _ David Graeber / Decolonizing Environmentalism; Baumann; Pareto; Natural Pigments; my personal reflection on both Graeber & Pareto; a lot of studio practice experiments - very fun time!

D Graeber: the life in Bioregions is simple, joyful and worthy; colonialism created bias of being silly, worthless, lazy & fat (much more to come from his conversations and books)

Z Baumann always been very nostalgic of “modernism” and its solidity & predictability too. Departing from Joseph Beuys’s “Kapital = Kunst”, Baumann describes how advanced capitalism is based on duality of culture & social enjeneering.

Pareto is a son of french “positivism” and also a real liberalist (an early fascist too?). The society will be always lead by elitee; a very early (pre-Thatcher “there is no alternative”). In his view there will be always a balance between progress and conservatism. A society in which the “instinct of combinations” prevails is succeeded by a society in which the “persistence of aggregates” prevails. The social system fluctuates, the fluctuations vary. Societies change very slowly as residues change very slowly. His economic based education and his “positivist” background merge in how he perceives humanity as a physico-chemical system, in which the molecules are represented by individual humans with their particularities interacting at the moment of "social mixing".

What I find horrible in his view is exactly what capitalist entrepreneurs found exciting in him: the idea that each individual is just a molecule so it doesn’t matter which is your ancestry or what you really care about in this world: you have a function for the system ‘till you don’t. It is where the XX centrury really hit! Eurocentric technoregions piece by piece, one by one, slowly disconnected individuals from their communities and then from where they belonged and what they were part of.

I disagree with Graeber on his view that non-violent movement is the failing point and the best allied of Governments - really can’t take it even if intellectually I respect his point of view. I really don’t like Pareto’s liberalist philosophy. I remember I read that members of the French government in power before the invasion of Hitler were more likely to welcome Hitler than a woman nominated by the Prime Minister in the Cabinet. On the other hand Pareto seems more likely to welcome Mussolini’s fascist party than to risk disorder for an eventual socialist revolution. Even if the Italian Socialist Party was more moderate and distant from the Italian Communist Party (PCI)which was deeply connected to Moscow. Also for Pareto, people like me, who are empathetic and use the logo-pathic intelligence are weak.      

As I said, a lot of studio practice! A new series of works based on Art Deco (national based style of technoregions) texture & sysmbols. Following some examples I re-made them with natural elements. Only natural elements I selected and processed.

Post n 14 | RESUME OF THE WEEK 15-21 November

Published on November 22nd 2021 4 41 PM

- On Monday 15th I had a 1-2-1 Zoom Tutorial session with Jonathan Kearney. It was a very revealing and insightful conversation. I was so agitated and felt lost or unproductive the days before that. I realised that I've collected more than 25 articles, started few books and expanded my practice since the beginning of this Master. Even putting in pause some sculptures or other activities I was working on has been both frustrating and difference-making.

- I've fallen in love with feminists cosmologists Monica Sjöö e Barbara Mor. We are in the season when the days are getting shorter and the nights are getting longer, so their work is very relevant to me right now: "for the ancients the night was not only the absence of negative light and darkness, but a powerful source of energy and inspiration. At night the cosmos reveals itself in all its vastness, the Earth is ready to sprout, and the sinuous magnetic current stirs in the groundwater. "

Again: "the great cosmic dance: the movement of celestial bodies, the rhythm of the tides, the circulation of blood and lymph in animals and plants"

- An amazing exhibition "State and Nature" at the Staatliche Kunsthalle Baden-Baden. I din't know Devlet ve Tabiat before.

- I've made a little research on an essay by Timothy W. Luke published on Arts Journal in 1992 on "Art & Environmental Crisis - From Commodity Aesthetics to Ecology Aesthetics”. There is so much to unpack from this work and the following posts will probably be focused on the topics of "Bioregions" and "Technoregions".

- I have presented my research on Timothy W. Luke’s articled in the break out room during the session with Justin and Lucci. I wasn’t happy with my presentation (I was also driving crazy because neighbours were drilling since the last 10 days and during the zoom too!) but I really enjoyed the challenge and I’ve learnt from both of them: from Justin about Deridda (I remember he was very popular with artists from Arte Povera - ie Mario Merz, Giuseppe Uncini, Michelangelo Pistoletto etc) and from Lucci about Synesthesia

- Further research on life & work of Jaider Esbell. His work is linked with Bioregions so it is mine too!


November 15th 2021 11.31 PM

In the last days I was confused and concerned that I wasn't doing enough. My mind was telling me: too much materials, too many articles; just too much!

Today I had an amazing and revealing chat with Jonathan Kearney.

The key word to describe the whole experience so far has been "Expanding". It came clear and unexpected. But is the very true feeling I'm going through: I'm expanding my conscious sensorial participation in the group. I'm not accumulating informations or data but I'm experiencing them. I let them cross my body. My mind and my consciousness. I'm letting it happen! I've learnt how to avoid to resist and instead let singular input or whole experiences passing through.

I envisage a multi-sensorial and heterogeneous investigation which is currently structured as an archipelago. There are so many under-explored context and identities to engage and get to know deeply. 

Very relevant for my practice was to listen to David Cross's Lecture. There are several point of connection between Cornford & Cross's project and some of my works - ie W.A.Y. - What About You (2007); Project RadioLondon _ Harare (2018); Percorso Pubblico (2019). I really resonate to the topic "I'll be your mirror", we can see each other on one another experiences. I understand myself on listening someone else!

Since 2015 and especially after the residency in Sicily, where I produced and fired natural terracotta, I felt the necessity to produce my own materials, this has notably slowed down my process but also gave me the sense of doing the right thing. From clay to pigments and to photography. I was very focused on HOW. In the last weeks I've been asking myself mainly WHY. It is because I want to subvert the industrial culture of manufacturing natural materials and resources. While in nature all the process of transformation are collaboratives and reversible [bringing elements together, atom by atom], since the industrial revolution we learnt how to convert natural resources but those products will never return part of nature. It is an irreversible process.

My favorite moment to create, reflect and expose myself to the danger of all kind of thinking is the evening \ night \ very early morning. Once again I'm finding vibrant the moments in which my mind is not caught by someone else attention. We are also in the season when the days get shorter and the nights get longer. [the great cosmic dance: the movement of celestial bodies, the rhythm of the tides, the circulation of blood and lymph in animals and plants - Monica Sjöö e Barbara Mor]

When Jonathan asked me what is the first steep of any art project of mine I immediately said: listening. It is so true, it doesn't matter if we are talking about materials or places or people. I have the urge to listen it first and then let go this first impression. Despite create and being stuck with one opinion I prefer to know more.

  • My research will investigate how nature could be involved as a public space.
  • I will focus on recent cases of reforestation - ie Scotland - and generally the cycle of making forest. I will address forest and nature in general as a complex system but also as our original habitat. 
  • My research will be dedicated to Jaider Esbell.

Other thoughts and insights from today's conversation with Jonathan may come in the next few days' posts.

Category: tutorials

#tutorial #expanding #conford&cross #MAsession #MondayLecture #Esbell


Published on Monday 8 November 2021 at 12 21 PM

Despite the experience with the Parthenocissus quinquefolia Planch (btw I got a beautiful red) was incredibly successful, I’m failing with others leafs. They smell like the poo of my tortoise and the colours I’m getting are not interesting at all! I can’t get the yellow or the green that I was expecting. I guess is better to investigate not organic materials - ie minerals or oxidations.

My goal is to produce my own pigments to produce a series of drypoint (and etching) and sculptures in clay.

Image here

Post n 11 | JAIDER ESBELL (1979–2021)

Published on Sunday 7 November 2021 at 10 08 PM

I’m still shoked by the news of Esbell passing. Originally from “Raposa Serra do Sol Indigenous reserve” he was an artivist - promoting political fight for Indigenous rights, land, and cultural recognition through art. I will keep his work in my mind.

I will dedicate my MA to him.


Published on Wednesday 3rd November 2021 at 5 51 PM

I started to produce my own natural materials in 2015/2016, mainly clay. I'm starting now with pigments and the first will be a red, which I aim to estract from the leafs of "Parthenocissus quinquefolia Planch". That means that the pigment will be from a biological surce so I don't know if it will be stable.

300 gr of leafs, boiled in two stages (I started three days ago) for about 1 - 1/2 hours each time [smells like broccoli] 

The liquid is full of pigment and has reduced from 500 ml to about 15 ml. The colour is a deep red / rubin. I will check if is stable on paper, used as watercolour; taking pictures every 48 hours for two weeks, then montly for 6; 12; 18; 24 months. This is the problem of using pigments soursed from organic / biological materials. Should I with not organic materials, such as stones, minerals, oxidations? [the pigment dried completely on Sunday 7 october afternoon]

Image here and here


“But where the danger is, also growing the saving power ”

- Friederich Hölderlin .

Published on Wednesday 3rd November 2021 at 4 15 PM

Image here


“Bagatelle Parallel”* at The Wallace Collection, London.

Published on Sunday 31 October 2021 at 9 17 PM

I was captured by a sequence from Last Year in Marienbad (1960), which reminds me of another movie, the ambiguos Federico Fellini’s “I Vitelloni” (1953). As also Martin Scorsese mentioned in his documentary “My Voyage to Italy” (1999), in I Vitelloni there is an innovative moving of camera ( which describes the feeling of Moraldo. While Moraldo he is taking the train to leave behind him the loved/hated hometown, his family and friends, the camera catch all of them in their bed while sleeping and with a beautiful movement takes distance from them as Moraldo is going away with the train. 

For everyone like me that comes from a small city in province this moment of the movie is very relevant. I still resonate with those emotions.

*By the way, the whole Brook & Black projects “Bagatelle Parallel” seems to me to be a Fellini’s dream!

Image here 

#MAsession #Mondaylecture #brook&black #fellini #cinema #installation #time 


Published on Wednesday 27 October 2021 at 11 44 PM

Working on failure 4/5

There was an incredible coincidence on the day of the first lesson (Sept 30 '21). Earlier in the morning my coach* and I we discussed on the differences between being empathetic or compassionate. In the health care, for example, being empathetic means more likely to burn out. On the contrary being compassionate seems to be more successful for both the quality of healthcare provided and for resilience of the professionals themselfs.  It was very important for me to address this topic because I'm an empathetic person. Less than an hour later, during our first lession we was talking about compassion and team groups in the Silicon Valley. I just had an internal laugh and drop it as an unusual coincidence. 

Strange enough few weeks later I'm here to finally connecting the dots and those different part of my life and work are merging together. As I supposed days ago, the pieces of clay (too tick!) finally broken. 

When I work in one of my community project I don't need to switch in a "compassionate mood" because is just there. Is part of me and I didn't learn it at school is more likely that people such as my granpa, my mum and my dog tough me. Being empathetic is deep rooted in my consciousness and during the years I've practiced to be compassionate.  

Now I have my broken sculpture. The clay broken while it was drying but I don't feel guilty - which is unusual! 

I allowed myself to make a mistake; I let myself to push too much the material. I did't felt idiot or responsible at all. Instead I've been kind and compassionate to myself for the whole time.

I generally don't like to look naive but I've been incredibly naive on modelling the clay such way. And it's ok!

I’ve read about kintsukuroi (or kintsugi) to understand that is not what I’m talking about. My aim is to be comfortable with have broken and respect it for what it is: is dignity to stay broken. 

I generally work the clay that I find in nature, in the countryside. In this perspective, if a piece of clay breaks during the process is just getting back to its origin. What is “broken” to my eyes is actually an evolution for the material itself and despite it is going on the opposite direction of my will (which is to obtain an object), it is just following its nature. This assignment is giving me the opportunity to reflect on the fact that me and the materials I use ( funny that I call them “my materials”) might have different aims. Isn’t very easy to accept. 

#error #failure #clay #compassion #kintsukuroi



Published on Monday 25 October 2021 at 8 04 PM

On Oct 21st ‘21 I had a revealing Zoom - Breakout Room session with three other peers from the course: Gia, Tim and Xinyue. During our Gia mentioned two relevant things and both resonated very much to me. First of all: the anxiety to publish posts on my blog about topics or experiments that are still ongoing, not refined and unfinished. She mentioned the possibility that I am myself the most critical judge of those posts. That actually makes much more sense, because the moment that I publish each post my anxiety declines as I don’t feel “responsible” anymore for what I’m realising.

Again, am I allowed to make mistakes during the process of researching?

Do I allow myself to enjoy the process?

#MAsession #anxiety #expectations 


Published on Tuesday 19 October 2021 at 12 16 AM

Working on failure 3/5

I've been quite brutal on modelling the clay. Considering my boundaries and the respect I used to pay to such material. I could saythat I'm doing what I generally hate to do: rushing the process and working without an established plan.

I'm making very  and "heavy" pieces - they will break for sure! I'm merging those each other without any sense of grace or respect for the final composition. This piece seems stressed and I look impatient.

I finally touched the painful nerve of failing through the wrong path.

Note: I'm very late. I'm still working on the assignment of Oct 7th, which was meant to be done during the week of Oct 8 - 14. I'm very slow on connecting the dots of the different topics. 

#error #failure #clay #boundaries


Published on Thursday 14 October 2021 at 12 06 PM

Working on failure 2/5

I know that seems awkward of me to say that I understand Hegel. But finally I do.

I didn't spend too much time on his work - even during my BA in visual sociology. His aim to piss on us is so clear reading his intriduction on "Phenomenology of Spirit" as it is clear his own pleasure on playing with his use of language.

Btw I've loved G. Simmel so I'm used to philosophers playing with the german language to express their understanding. With vorstellung (the german for "presentation") Hegel means the natural represen-tation, the "very real reaility" and in his view is the fear of this "truth" that generates the fear of error itself. That is revolutionary but also extremely simple.

Did I finally understood Hegel?

Long time ago I've studied both the "anthropology of error" (as part of antropology of teathre) and what the error and the failure meant for writers and directors such as Pier Paolo Pasolini and Bernardo Bertolucci. Again, the so-called fear of error turns out to be fear of the truth and its hydden nature.

I can finally answer myself why I fear so much the error in my own practice, even if is an assignment. In my mind means to fail in the projection or in the interpretation. Even worst, means to fail in the intentions behind the action.

Image here 

#error #failure #hegel #pasolini #bertolucci #sociology #anthropology #sociology


Published on Tuesday 12 October 2021 at 7 24 PM

Working on failure 1/5

It was six men of Indostan

To learning much inclined,

Who went to see the Elephant

(Though all of them were blind),

That each by observation Might satisfy his mind.

The First approached the Elephant,

And happening to fall

Against his broad and sturdy side,

At once began to bawl:

"God bless me! but the Elephant

Is very like a wall!"

The Second, feeling of the tusk

Cried, "Ho! what have we here, So very round and smooth and sharp?

To me ‘tis mighty clear

This wonder of an Elephant

Is very like a spear!"

The Third approached the animal,

And happening to take

The squirming trunk within his hands,

Thus boldly up and spake:

"I see," quoth he, "the Elephant

Is very like a snake!"

The Fourth reached out an eager hand,

And felt about the knee:

"What most this wondrous beast is like

Is mighty plain," quoth he;

"’Tis clear enough the Elephant

Is very like a tree!"

The Fifth, who chanced to touch the ear, added:

"E’en the blindest man can tell what this resembles most;

Deny the fact who can,

This marvel of an Elephant

Is very like a fan!"

The Sixth no sooner had begun

About the beast to grope,

Than, seizing on the swinging tail

That fell within his scope.

"I see," quoth he, "the Elephant

Is very like a rope!"

And so these men of Indostan

Disputed loud and long,

Each in his own opinion

Exceeding stiff and strong,

Though each was partly in the right,

And all were in the wrong!


Published on Friday 8 October 2021 at 7 14 PM

Today I was imagining this blog to be my garden.

Gardens really mean a lot to me; they have the ability to host, to show off and share but also to open and close. I really like this dynamism.

In 2007 I was commissioned to produce a site-specific installation for the second edition of the festival Es.Terni (the festival was permanently suspended after its edition of 2018 called The End of Now).

It was a very challenging commission because I was the only artist with a background in visual art whilst the context was predominantly oriented to performance and theatre. I decided to explore something completely different of what was my practice. So I created a series of indoor gardens as places where both the visitors and the other artists participants were able to rest, to meet and to relax. Until then I was so focused to entertain “my public” and my collectors and supporters with artworks full of contents and meaning while now I was just offering an empty space to chill!

I hope to bring that ease and conscious relaxation to this space too.  

By the way, one of my favorite albums at that time was Ende Neu from Einsturzende Neubauten so I guess I was influenced by one of their song: The Garden. Funny enough, today making a little research I found out that apparently Blixa Bargel (frontman and composer of E.N.) in 1996 was in the Prado Museumshop, when suddenly he heard an elderly English woman next to him saying to her companion: “You will find me if you want me in the garden, unless it’s pouring down with rain”. This is the only phrase he repeats and repeats in the song.

Image here

#installation #art #publicspace #einsturzendeneubauten #experimental #garden 


Published on Friday 1 October 2021 at 7 42 PM

I will use this blog as a research oriented space.

My first blog was in Myspace. In the years before Facebook, Twitter, Myspace was an authentic place to meet other artists, show your work and share interests and experiences. A real community. Then sadly, both Zuckerberg and Murdoch removed the empathy and created the second generation of social media, aiming to connect people and to sell (to) them.

So I moved to Tumblr but didn’t last for long too.

I was frightened to start this new blog, not because I fear the adventure or to be exposed but I was worried to not to have enough to say.

But here I am with a completely different task. New eyes and new shoes.

Image here

#myspace #tumblr #blog #digital