Imagining new functions that archaeological artifacts could have in public space, the work re-interprets the vases found in the local necropolis as the supports for a spiral bench where there is an immeasurable bond of summer chatter and caresses, between cicadas and shooting stars.

The sea has always fueled the imagination in the creation of fantastic stories and mysterious creatures. On land, we enjoy the comfort of indulging in these mental games, and it is to foster this opportunity that the idea of benches as a meeting point between fiction and reality was conceived.

The river, the forest, the greeting are intertwined to connect the villages through sound. Inspired by the villotte, the songs that have accompanied and shaped the territory, we have collected the sounds derived from daily life and, symbolically, loaded them into the gerle (baskets) to weave a collective soundscape.

The project is an invented tradition, a slow procession that transforms the legacy of salt routes into a collective enchantment, a song of reconciliation between living bodies and landscape, illuminating new paths of harmony and protecting trading places from negative energies.

(ㅤ) moves in circles, looping around what we know and don't know. (ㅤ) marks a space, an opening, a viewpoint. It points towards something, and at the same time it shows us something that isn’t there, an empty space, a void, something to be filled in or left open?

Just as intertwined threads form a fabric, human relationships weave together to form the fabric of society. Each knot represents an encounter, a shared experience, a bond between individuals. Circo Tessile (Textile Circus)is thus a tangible symbol of the strength and beauty of collaboration.

I identified the bar as the best place to explore the tension between memory, distortion, and gossip. My ear retains the stories of resilience from the people I can now call by name. I will be the keeper of secrets as if I had made a pact with the mountains that welcomed me.

I figli di Afelio(Aphelion’s Heirs) is a mythological image that evokes a cosmic place: the orbital point farthest from the Sun. At the same time, it is a gaze set on a very close, earthly, and vital horizon.

In a former dairy shop, the installation explores Serre’s past and present objects of desire: while the neon echoes the town's roots in travertine — formed over millennia from compressed calcium — the slot machine sculptures evoke the region’s essence with the scent and feel of cypress and cedar.

Sometimes, it is necessary to rework the details to create a new narrative. This makes us aware of which parts of the past still communicate with us, through our present-day eyes. I gathered visual suggestions from San Ginesio, formulating an unexpected story to test the elements in a treasure hunt of signs.

There is an invisible door that creaks as soon as a stranger crosses the threshold. A sound with frequencies inaudible to the outsider alerts the residents of Motta to the arrival of a guest. It would not surprise me if, at the point where asphalt turns to stone, they asked me to take off my shoes.

Drawing inspiration from the words of Evidio Agostinoni, “How much could the return of the lake cost?... Sentimental Dream!”, the project embarks on a sentimental and reflective journey. It serves as an invitation to contemplate the value of our natural heritage and to weigh the implications of human interventions on the world that surrounds us.

Knowing the names of your neighbours and the rocks that define our landscape holds great value. Similarly, knowing the names of the birds, flowers and mushrooms that inhabit our environment can make us more attentive to them. This familiarity may prompt us to walk slower and gentler, and stop to encounter people as well as animals, and spices.

To explore all sides of an intricate correspondence; where deep historical spirituality, the disregarded mundane, and present-day voices of Guardialfiera playfully meet, has been my personal thrill and pleasure. I hope my work engages, connects, and makes happy.

Reflecting on the root meaning of the word “curate” as “caring for”, I’ll try to develop archival practices that suggest alternative understandings of time, space, and affects that are obscured within dominant history by focusing on the voice, the ephemeral and the micropolitical spaces of bodies.

The Carnival reminds one that new life can only arise from the completion of a previous life cycle. Referencing an apotropaic sacrificial ritual that takes place in Sedilo, I have made use of animal fats, bones and the tradition of cowbell making to amplify the tensions that regulate agro-pastoral life.

Lithuanian vernacular architecture has long interested me. Thinking of the Lithuanian house as a mobile element, I see the potential of material dialogue traveling through different cultures and heritages, from Lithuania to Italy. From a log to an object. From a piece of wall to the wooden collars.

Painting for a place of worship so familiar and therefore delicate for the citizens of Palazzo Pignano has been a source of new and fruitful scruples for me. My painting production embraces a Christian matrix, and I have reflected on the possibilities of highlighting it.

The project is inspired by a thousand years history of the olive tree and its connection to humans, responsible for its domestication and cultivation. The three works cast a light on the history and diverse use of olive oil, as well as a reflection on the collective labor and struggle of farmers in cultivating olive trees in the Mediterranean region.