sounds · images · installations
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Arbosonica · 2025
Image Not Found · 2025
Crux Digitalis · 2025
Vainglory · 2024 — ongoing
ánemos · 2022
Timelines · 2022
Vainglory · 2021
theVices / Devices · 2020
theDrama#2 · 2020
Gharfa · 2019
theDrama#1 · 2019
I work across sound, visuals and technology, experimenting with performative actions and installations between the physical and the digital world.
My work uses the audio-visual chaos we are all immersed in as raw material, reworking and reframing it to seek a critical reading of contemporary society.
I have created installations and sound works in Italy, France, Germany, Greece and Saudi Arabia, sometimes collaborating with artists such as Edoardo Tresoldi, Gonzalo Borondo, Studio Azzurro, Andrea Crespi, Daniela Pes and Matteo Mandelli.
While sounds and images saturate our daily life through the audio-visual dictatorship we live in, I seek to turn the visual into the Visionary.
Rather than creating from scratch, I collect what we all compulsively produce and reshape it into visual and sonic sculptures.
Working with multitudes of smartphones and social media content as raw material, I developed a practice I like to call "Content Upcycling — an ecology of the audiovisual."
In my work, the contradictions of the contemporary are not just denounced but consecrated and celebrated, revealing that we are all both part and object of a new, often unconscious ritual.
October 2025
Inside a glass case, a smartphone feverishly scrolls through Instagram. Incredibly, every single image has vanished from the platform.
Image Not Found, created in collaboration with artist Andrea Crespi, is an installation that directly addresses the theme of the fragility of privacy within today's digital ecosystem. The work is a visual representation of subtraction, a monument to the void generated by excessive exposure. It speaks of the invisible theft of data that each of us has suffered, continues to suffer and will increasingly face in the coming years through ever more sophisticated and pervasive technologies. It is a mechanism of which we are all both victims and accomplices, since the main tool that enables it is the smartphone, the device we handle obsessively every day, all day.
"Data is the new oil." In 2006, Clive Humby wrote one of the phrases that best encapsulates the first twenty years of the 21st century. Image Not Found reflects on this dizzying paradox: the extraction, processing and commercialization of our data form one of the fundamental pillars sustaining contemporary systems of power, yet unlike oil, our data belongs to us. The glass case thus becomes both a symbol of the perpetual theft on which the status quo is built and a testimony to an improbable yet possible revolution: what would happen if, all at once, we decided to delete our data, starving the platforms?
2019
The first sound mural of theDrama project is called "Riportiamogli a Casa L'Oro". It is dedicated to all the crude oil ports where the rich part of the world welcomes boats from other countries only if they're carrying crude oil or other precious raw materials instead of human beings.
Lyrics are taken from a radio interview of Italian right-wing politician Daniela Santanchè at the height of the migrant crisis in 2015. According to her (and to many other Italian and European politicians) the crisis could be solved by "sinking the boats".
The audience listening to this sonorization in the proximity of a crude oil port will hear words suggesting them to "use force" and "sink the boats", but they will face crude oil tankers instead of migrants boats, often coming from the same countries as the migrants do.
To announce this first release, I created "STOP Barconi" (STOP the Boats), a pro-Salvini Facebook page that reached 30,000 followers in less than 2 months, feeding them with all the classical repertoire of xenophobic/racist/populistic content that is typically posted by similar pages.
On May 20th, at the climax of the European election campaign, STOP Barconi announced the live stream of a striking action against the refugees: the "refoulement of a boat". Thousands of users rushed to watch the Facebook live stream but the boat they were seeing in the video was a crude oil tanker entering the port of Trieste, one of the most important European oil ports.
2,000 users watched the live streaming and over 1,300 even shared the video on their Facebook profiles, despite the boat being a crude oil tanker and the video description clearly reading "I pranked you!".
Facebook profile "STOP Barconi" is designed as a virtual contemporary art performance, a social audio/visual mural painted on Facebook walls. All of its posts, comments and reactions will not be removed: the mixture of homophobic and racist expressions, and the social networks' dramatic superficiality, represent the times we're living in.
2019
Gharfa was a huge experiential pavilion by Edoardo Tresoldi featuring collaboration between him, Alberonero, Matteo Foschi and myself.
I created the sound environment of the installation by designing a sound de-composition: three different yet interconnected sound tracks were played in different parts of the installation and allowed the visitor to hear their balanced mix only by being in the center of the structure.
Moving from that focal point, the visitors could practically create their personal audio "mix" walking through the installation, getting closer to one sound source and moving away from the others.
During the development of this de-composition I started to think about the concept of sound anamorphism, and started to understand how nature sounds are anarchically distributed through space, unlike the left/right hi-fi dictatorship that we are accustomed to follow in the music business.
2020
Europe/YourHope is the second release of theDrama project, made in collaboration with the Italian artist Andrea Villa, and is dedicated to the Lifejacket Graveyard, an incredible place where thousands of life jackets, boats, clothes and other stuff abandoned on the Lesbos coasts by the migrants approaching to the Island can be found.
A couple of 3 meters tall columns, made using 60 "donuts" life jackets used by the migrants during the sea crossings, marked the borders of the two incredible lifejackets dunes, transforming the place into a true monument dedicated to the refugees and emphasizing his solemnity and dramatic force.
The place was sonorized using a TV monitor in which the speech that the Greek Prime Minister Kyriakos Mitsotakis had in front of the U.N. general assembly, talking about "Democracy, individual rights and equality", turned into a sad and barely recognizable version of Beethoven's Ode to Joy, the official E.U. anthem, transforming the life jacket graveyard into the European values graveyard.
Only by crossing the Pillars of Hercules of our contemporary western fear of the diversity will Europe finally become Your Hope.
2020
ARE DEVICES EVOLVING THE VICES?
The reflection on how vices corrupt the human soul, depriving a human being of his freedom has always fascinated philosophers, artists, thinkers.
Despite all the historical changes, the 7 capital vices remained unchanged: Pride, Lust, Avarice, Sloth, Wrath, Gluttony and Envy have all gone through almost two millennia, unscathed.
Today, however, our social, cultural and economic habits are being changed like never before by the web and by the devices through which we seamlessly enter the cyberspace, often without even realizing it.
The multiplication of the infinite online possibilities, where we can say, show, look, listen, be, wish, hate, court and buy virtually anyone and anything radically changes the way we interpret ourselves and interact with others, influencing our habits and ultimately our temptations.
theVices/Devices is a cycle of seven sound/multimedia installations that reflect on how Capital Vices are transformed and updated by the spread of electronic devices and the social practices that these have created and stimulated.
Are devices evolving the vices?
December 2021
"Where pride desires to have some excellency and majority, vainglory, not even satisfied with this, wants to manifest it and show it off, in order to acquire praise, name, honor and fame among the people".
(Jacopo Passavanti, Mirror of True Penance, 1354)
Vainglory is a big Audio/Visual sculpture that stages the obligation to stage ourselves that anybody experiences in everyday life on social networks. It took place for the first time in December 2021, by invading and subverting the rules and perspectives of the Petrella theater, a wonderful historical Italian theater built in 1864.
We feed our social profiles with the best possible content, trying to compress our existence into a timeline that can be envied as much as we envy others'. The democratization of artistic production pushes us to a condition in which everyone became both artist and audience of himself, transforming audiences from tendentially passive masses into a creative multitude able to compulsively produce all kinds of contents.
SOCIALITY becomes SOCIAL and produces a condition always poised between examples of random creativity, sometimes surprising, and a consistent background buzz. In these conditions, the stage no longer exists because THE STAGE IS EVERYWHERE. This is why the stage of the theater is empty. Instead, stalls and balconies are crowded by 150 digital devices, each transmitting a different audiovisual content.
The stage is no longer a place of performances. Having lost its ability to be a pulpit it becomes a privileged observation point, from where we can look at this perpetual creative flood which is able to enlighten us about the contemporary. Cyclically, the background buzz generated by the overlapping contents of the 150 devices is modeled and transformed into a sound and visual sculpture; observed and listened from the stage, the crowd of devices becomes an orchestra performing shreds of an hypothetical contemporary piece, to eventually go back, after a few minutes, to the background noise of our lives.
September 2022
Timelines displays the trauma of war through a sudden change of images, sounds and colors that Ukrainian users started to share on their TikTok and Instagram profiles when Putin's "special military operation" began.
A musician, a teenager, an actor, a worker: for PhEST 2022 I have selected, recorded and reassembled in this mini video installation 5 real users timelines in which you can see how, in a few hours, these people faced a brutal switch from school desks to tanks, from fooling around to military propaganda, from mountain shelters to bomb shelters, from holidays to rubble.
By juxtaposing and aligning this daily Social Networks routine, Timelines shows how war suddenly transfigures our lives, without giving us the chance to scroll down and go back to the past normality.
September 2022
Ánemos is the artwork I created in collaboration with Edoardo Tresoldi and Studio Azzurro for PARMA 360, the contemporary creativity festival curated by Chiara Canali and Camilla Mineo in Parma (Italy).
Conceived as a single organism, specifically designed for the Festival, ánemos is a choral art installation that combines different expressive languages: Tresoldi's ethereal sculptural dimension is in a constant dialogue with Studio Azzurro's video projections and with my experimental sonorization.
Together we narrate a simple phenomenon, the light breath of a day's evolution in its landscape — its ánemos — trying to intercept the fundamentally chance-bound relationship between humans and nature by translating it into a suspended dimension between real and virtual, re-synthesizing a public, open and natural space into a private, closed and digital one.
The sound ecosystem I've designed for the installation is quite unusual and features a hybrid sound system; a traditional P.A. is placed at the first floor, over the temple's roof, but each visitor, through their device, can add and amplify one of the 40 different additional soundtracks to the sonorization, enriching with many sound elements the overall soundscape.
The result is a very fluid, organic and always changing sound ecosystem, that digitally replicates the sound sources multiplicity that every human being normally experiences when surrounded by nature.
Through the development of this particular sound ecosystem my attempt is to reach what I call "psychological sound transparency", a quality usually expressed only by sounds in natural contexts, where every sound of the space always seems to be expressed by the place itself, without any superimposition about someone that wants us to hear something.
2024 — ongoing tour
The partnership with Reapp was key to getting my large-scale installation, first showcased at the Petrella Theater in Longiano in December 2021, on the road. After that debut, in fact, I lacked the devices needed to restage it.
The passion and vision for contemporary art of Paolo Lorenzoni, CEO of Reapp, inspired his company to provide me with 130 refurbished, sustainable smartphones.
Thanks to these, Vainglory started touring across remarkable festivals and venues, from Videocittà in Rome to theGate, inside the Norman church of Santa Caterina in Gerace, from the Morticelli church in Salerno to the Bright Festival at Stazione Leopolda in Florence, and the Ibrida Festival in Forlì.
The journey even reached unique and extraordinary places like the main chapel of the Marina di Camerota cemetery during the Meeting del Mare Festival, also appearing multiple times on national TV news and programs.
September 2025
"Let there be no other boast but in the cross of the Lord"
(Galatians 6:14)
These are the words St. Paul used in his letter to the Galatians, expressing that a Christian should find no pride in wealth, power, prestige, or fame, but only in the cross of Christ, the foundation of their faith and hope.
The anamorphic A/V sculpture of Crux Digitalis completely inverts this perspective, creating a "cross of boasts" made up of countless social media posts that we all compulsively produce, chasing precisely the wealth, power, prestige, and fame Paul rejected.
This digital cross becomes an ambiguous symbol of a new religion, built on individual, self-celebratory rituals through which we daily nurture our personal cult, increasingly becoming saints of ourselves.
November 2025
Presented to the public on November 10, 2025, after nearly four years of development, the Siris project is an ambitious site-specific contemporary art intervention designed to enrich and revitalize the Archaeological Park of Herakleia, located in the Vallata Mediana of Policoro (Matera, Italy).
This Ionian coastal plain is rich with traces of ancient Greek colonies dating back to the 7th century BCE.
working in the archeological park with Daniela Pes
The site, home to significant remnants like the Archaic Temple and the Sanctuary of Demeter, lacked a third dimension, suffering from limited visual perception due to the sparse preservation of artifacts. Siris transforms these elements into an immersive, multisensory experience, blending archaeology, art, architecture, and landscape into a publicly accessible "Archaeological Ecomuseum."
Curated by STUDIO STUDIO STUDIO, the interdisciplinary laboratory founded by artist Edoardo Tresoldi, with artistic direction by Antonio Oriente, Siris features 3 main complementary works that engage with the site's landscape and history.
A real-time recording of what the visitor hears while walking in this section of the park
Alongside my contribution, the project includes works by two other international artists:
Gijs Van Vaerenbergh (Belgian duo Pieterjan Gijs and Arnout Van Vaerenbergh): Their installation Rovina Inversa challenges architectural conventions, inverting ancient ruins to create a dialogue between past and present, reshaping the physical perception of space.
Selva Aparicio (Spanish artist): Her sculptural pathway Chora invites contemplative meditation, guiding visitors through vegetation toward the Sanctuary of Demeter. The work celebrates the connection between ancient devotional rituals and contemporary nature, with organic forms evoking harmony and growth.
My work is called Arbosonica, and is a complex soundscape for the entire park, created using an innovative GPS-based audio geolocation system. This system allows me to design zones of varying size and shape on the ground, assign one or more sounds to these zones (even overlapping them), and enable visitors to activate them through their GPS positioning as they walk, crafting a unique and personal sonic experience of the park.
Arbosonica adds a "fourth acoustic dimension," creating an "Augmented Nature" through an app with GPS-mapped soundscapes. As visitors move through the park, they trigger ambient soundtracks, poetic fragments, and musical compositions, weaving ethereal sounds into the natural ecosystem.
with Claudia Fabris during the Arbosonica live performance for the opening ceremony
