The artist works in the old uninhabited village of Tratalias with a series of large canvases exhibited in Sa domu de tzia Giuannicca, a traditional stone and mud house, so called because of its old owner.

OOO is a triptych of drawings that deepens the country’s bond with its albanian ancestry.

Campostabile ha voluto creare un’installazione all’interno del sito che ospita le rovine della antica dimora originaria della famiglia tasso. Gli oggetti scultorei, come prodotti dei mercanti in viaggio, sono fossili che ci restituiscono tracce del passato

What, then, is a valley if not landscape, rivers, stones? the stones here, are not only witnesses to the passage of geological eras on matter, but also to the passage of vanished civilizations, as we are reminded by the stele statues that still resurface at various points in the valley.

Un luogo di passaggio sospeso, fuori dal tempo, le case di pietra aggrappate l’una all’altra, custode delle storie di viaggi epici di cui, ancora oggi, questo luogo rileva le tracce. Come traccia del passaggio di cavaliere, un segno alla finestra della torre di guardia: un drappo contemporaneo, quasi venisse da un altro mondo, sospeso perché́ tutti possano leggerne l’avventura

Handed down exclusively in oral form, the sciàmbule were only sung during the week of Carnival. They allowed a temporary overturn of established hierarchies, customs and the morals in force, conveying from time to time forbidden messages and feelings of love, disdain or pain.

The title of the project refers to the sankofa symbol, attributed to the akan of West Africa, and metaphorically means going back to the roots to move forward. It is the key to understanding the sculptural path that begins on the bank of the Bormida and continues to the castle

The main work consists of a jib sail with the words Abracadabra embroidered on it. Abracadabra, an ancient, widely known, magic formula, was originally engraved on precious stones, guaranteeing health and protection from diseases to its bearer.

Can one sound that silence? And the images collected in the testimonies of the plague of 1631 in val d'elsa? Can you find a rhythm in the words of a decree law that states which services are essential?

This project gives continuity to the artist’s interest in reusing waste materials, as those recovered in urban spaces and, sometimes, in abandoned buildings, in her anti-monumental works.

A pocket book inspired by 1960’s italian press, stickers of my invention, prints, and an animated film, spread organically throughout polcenigo. I see this project as an invitation to a safe playground, where everything is possible after a long period where nothing was. a magic potion, a treatment really – i am more than pleased to share my elixsir.

The project is not moved by a simple territorial claim of these finds, but wants to question the ways in which archeology and cultural heritage become part of «identity» mechanisms.

The title is a reflection on the process of depopulation, and finally the abandonment of these places, three of which are signaled by the artist’s neon lights as if to be an invitation: to reside to inhabit, rather than visiting as a tourist.

The widespread intervention by the artist develops precisely on the curious contrasts of a city that seems to have made an identity trait out of diversity and hospitality.

The work sits in the mountains of santa gertude like a guardian of silence and stately witnesses of destruction. drums have also been long related to power structures and utilized in regiments of war. the drum signal is communication, and it establishes control. The drumstick becomes a phallus of power. In the global anxiety of today, the surreal and wondrous appearance of the installation also resonates with the today's bewildering sense of uncertainty and change.

The reinterpretation of the wayside “edicole” triggers a hybridization between the myth, the exploration of a nomadic and shared knowledge, and the history of battaglia terme, which is characterized by continuous transformation and reinvention. Each example enters into dialogue with the surrounding environment through the depiction of “topoi” (common places) that have survived to this day.

Like a secular ritual that marks a daily passage through sound, it also lets a fragment of history escape into the wind from the castle walls. the sound installation also consists of three long white drapes that emerge from the balcony of the tower: moved by the wind or immobile, agitated, calm, they are as unpredictable as our own breath.

L’unica danza unites all beings, the dance of the present. each fragment that makes up this dance suggests relationships with all the other fragments, like a thread woven into a tapestry. In my installation in the village of fornelli, photographs of distant places find space within the town, creating relationships both with the landscape and the architecture.

The Ciammarichella, the road that miners traveled at night to go up the mountain and return to Abbateggio, was strewn with lanterns, fireflies that illuminate the forest.