Else Space is a hybrid digital ecosystem, a territory of study, a field of relationships, and a place of production. This ecosystem consists of various spaces that offer users the opportunity to participate in different formats and modalities. These spaces overlap and extend into each other, multiplying access to content, modes of communication, and experiments in archiving. The virtual and immersive architecture of Else Space is an extension of the artist's studio where works and other contributions reside. Accessible immersively via VR headsets and personal devices, the structure of Else Space evokes thoughts of a non-orientable topological figure, akin to a Möbius strip, which also masquerades as a "circulus in probando". P.A.: due to the end of support for Mozilla Hubs by Mozilla, the VR space is temporary unavaible.

The Flamingo Loophole was created as part of Mediterranean Hope's Balkan Rope project. Its purpose is to serve as a meeting point for social cohesion and to implement therapy climbing. The Flamingo Loophole is also an artistic operation, "a way of creating art from civic action in the field, shaped by the exchange with the reality encountered". It is an artistic practice that, when grafted onto other social and humanitarian practices, aims to construct a necessity in dialogue with the needs expressed by a community. It is a process of translation: an imaginative synthesis that involves the architecture of the city and the bodies of those who inhabit it. The process that led to the building of the gym involved projecting imagination into an empty, abandoned space where the stories of the city of Bihac (BIH) could flow in order to create a sculpture made of metal, wood, and human bodies. It is a canvas on which a sequence of patterns creates a moving painting on the walls. A shared space where meaning, history, memory, contradictions, and conflicts are woven together. - Funded and implemented by Mediterranean hope in partnership with Kes.spectrum - With the support of the Kulturni Centar of the City of Bihac

Project made possible by the support of the DGCC under the Italian Council program, 4 th Edition, 2018. Hic sunt dracones is an immersive interactive installation in virtual reality. Hsd is the product of a long and complex research project carried out over several years curated by Chiara Pirozzi and developer with the production house Recipient. cc. Hsd originates from an exploratory venture carried out by the artist and his team: a sideways climb along the northern cliff of an island on a rocky coast that geologically belongs to the African tectonic plate but politically to Europe. “The name of the island has been excluded from all references in the work and from all the texts that the book. It is the only piece of information that, in a work that has its genesis in the progression of data, has been eliminated by necessity in order to allow the artist to pursue his reflections, his poetics and his political gesture along multiple geolocalizations.” The exploratory action has been mapped with the aid of advanced digital technologies. These have transformed it into an individual and unique route where up-to-date Virtual Reality technologies blend with insights generated from themes such as the manipulation of information and the ‘error’ as a gap between physical and altered reality. The result is a disconnect between present time and that of experience, as well as a sensory distortion in hybrid and over-stimulated environments. The strongly dematerialised nature of this installation, tries to redefine the space of vision, models of use and narrative experiences through interaction with the individual, the only tool that can activate the work. The work transforms itself into a space where urgent issues such as the spectacularisation of the concept of the frontier and the impact of the digital technologies underpinning big data on the biopolitical dimension of contemporary society can be researched. The artist's book is an integral part of the work which, thanks to a hypertextual and stratified reading, expands to the research basin elaborated by the artist.

The work, part of a project that lasted over a year, curated by Gabi Scardi and realized by Fondazione Wurmkos, arose from the request to conduct a workshop focused on the concept of "dress". The workshop's participants were a very diverse group of young people. Through a shared process of creation, a collection of garments has been conceived. The idea evolved around the concepts of bionics: inspired by the balance between material form and function, and the processes of development that, in nature, underlie every unit of life. The work started from the invitation to observe patterns, shapes, structures and strategies, to emulate them, adding a personal ingredient. The result is a series of floating organic costumes; hybrid and wearable beings that are between science and science fiction, the fairy-tale and the primordial, and in which the human, the animal and the vegetable blend. In this way the project is charged with poetry but also triggers a series of considerations on the crisis of the traditional relationship between humanity and its environment and on the evident need to look at the efficiency of nature in its relationship with its own resources as a fundamental example. The result of the workshop was the production, thanks to the support of Clara Rota (bassasARToria), of a collection of unique garments and a collective performance, documented through a selfie video streaming by the performers.

The vantage point for this environmental installation was positioned in an elevated area of the exhibition space, accessible to viewers via a dedicated staircase. This installation featured a floating layer of gilded metallic paper, suspended mid-air, seamlessly extending the plane to the horizon line defined by the back wall. At the center of this horizon, a circle painted with phosphorescent paint became visible only in the absence of ambient light. The full impact of the installation could be experienced only at dusk, when the phosphorescent circle emerged for just a few fleeting seconds. On the opening day, precisely at 7:33 p.m., f' shared a digital image of this ephemeral event with select personal contacts through social media channels. This act of sharing is termed a "Relational Act," and it is reproducible by each owner of the work. Numerous derived images exist both online and in print, yet the sole image deemed authentic is the one released by the artist on that specific date. The authenticity of the work is verified by f's archive through a dual process: 1. Examination of the visual characteristics of the image. 2. Verification of the "causal relationship" within the "social chain" that traces the image back to the original owner, ensuring a direct link to f'.

Mixtum formae the rarity of the everyday banal. the wonderkammern of the self. life is a flow that touches a volume of realities limited in space and multiplied in time. realities are layered within that time and become coexistent. they slumber and re-emerge over long space-time distances. as it passes through, the body attracts the elements it encounters. it incorporates them into its creative process; but they are not passive elements, as their con-science actively modifies the developing project. "the showcases have a great theoretical and visual capacity to question you, they are animal, astral, vegetable bodies of a very rich nature, where feyerabend's theory of abundance and deleuze's fold take you back to the baroque." [pasquale campanella]

An adaptive environmental performance: three characters and other sculptures silently impersonate the theatrical act depicted on a painting that has now disappeared and adorned the rooms of that palace. It is a pictorial work with environmental results, made up of independent works which, for the occasion, adapt themselves to a new spatial narrative inseparable from the place. In other words, it is the staging of a theatrical act in which the characters are ‘sculptural’. The spectator is empowered by their presence, by the void in their spatial relationship and by the imaginative projection of the story transmitted by the scene. The painting explodes becoming the presence and plan of the scene in which the spectator finds himself, invading it but unable to interact. And finally it is an Arcadian praise which fossilizes the story of the madness of love with its secularity. The hypnagogic world in which it takes place is the mirror in which the mechanisms of existence are reflected: 'what happens in the palace corresponds to what happens in the real world. The images and voices created purely by magic are nothing more than the projection of real desires.

This work is the result of a nomadic journey into the Italian landscape. Having left home (North Italy) with the aim of finding a cave on the Apulian coast where he could spend the night and explore the relationship between dwelling and communication, f' poses transitory inhabitance as a semiotic question: the architectural space (signifier) is the container of the human body (signified). The morphology of the cave is therefore seen as the space that created the ‘logos’ and the act of penetrating the cave is a return to the creation of language. It is also a symbolic act of returning on the one hand, to the first human settlements of the region and on the other, of inhabiting radical contemporary units of refuge. f' temporary loculus, recreated and transposed into the gallery space, also represents the liminal face of the European political body; resiliency in extreme conditions became a localised act of resistance.

Vast World, a work created for The End of the World (Centro Luigi Pecci - Prato), is a hybrid contraption that works as an optical instrument and sound reproduction device at the same time, a “live” environment within which the viewer perceives and is perceived. The artist, building on studies of the precursors of film - the Magic Lantern, the New World, the Kaiserpanorama, the Renaissance darkroom - combines projection mechanisms with the structure of the camera, creating a multiple representation device activated by external ambient light. Inside the Nidoboard® honeycomb cardboard architecture, original monochromatic glass slides hand-painted with watercolors, dating back to the beginning of the last century, are seamlessly projected inside the structure, creating a panoramic scenario in which the viewer is immersed. The audio composition, the result of a collaboration with the production house Recipient.cc, reworks Steve Reich’s Piano Phase (1967), experimenting with the phasing technique and alternated with a poetic text composed of a repertoire of botanical terminology recited in four different languages. The title of the work takes its cue from a Baroque historical moment in which a new garden concept emerged, the idea of the 'vast world'. A kind of garden in which the whole world is enclosed in a small fence: species and varieties from all over the world and of all sizes, shapes and colors grow mixed together in an almost undisciplined way. A conscious image that migrates from people to people. The perceptual disorientation caused by the sound is amplified by its circular diffusion inside the space and by the architectural structure itself, which transforms into a vibrating sound source. Thus an experiential space out of time comes to life, dominated by a dreamlike narrative, devoid of organized and rational structures, a mise-en-scène of an ideal and preternatural world in which observers are invited to lose themselves.

A dreamlike commentary on the seductive and dramatic aspect of the raw forces of nature; a clash between the perception of these forces in everyday life and their representation in the collective romantic imagination. The soundtrack has been performed live by the musician Nick McMullan, whose research combines the current technological element with primordial sounds, a sort of visceral-archaic-punk journey. The romantic narration is interrupted by digital glitches encoded in the source file. these glitches generate various visual effects arising from the reading of the file and dependent on the device playing the video. Project realized with the support of "nctm and art: Artists-in-residence".

Guha is the inner cavern on the outermost edge of the world, an environmental monument hidden within the bowels of the earth, built during the artist's stay in East Iceland. Guha is also the artist's studio, understood not only as a physical place of production but as a condition for an inner journey that includes meditation, deepening and rediscovery of individual and collective memory, in search of a void that leaves a passage to the decolonized imagination. Within the diaristic fetish of this 'journey' composed of drawings, artifacts, photographs of collected objects and an optical device of ancient technology, the artist has concealed a code capable of leading who deciphers it to the exact location of the cavern, so that a unique and special bond is established between the work and its user. Every one of these elements of unstable boundaries is part of that process of ‘hyper-extension’ which, as it unfolds, composes the work as unfinished, a constellation of personal elements, linked by the only path possible. Project realized with the support of “nctm e l’arte: Artists-in-residence”.

The Thermal Beings takes its cue from an apparently useless activity, stubbornly carried out during the artist's unproductive downtime in his studio: the systematic survey of the flight paths of some gnats influenced by the temperature of the surrounding environment. Graphic jumbles on more or less random sheets are rigorously inventoried with date, time and environmental conditions. From here a research between scientific rigor and divertissement develops, between otium and negotium in a stratification of scientific, literary, philosophical and historical references. The title of the work, The Thermal Beings, originates from a suggestion of the writer Jorge Luis Borges. In the adjacent space, a room immersed in darkness welcomes the viewer: here, in the center, a holographic light grid floating in mid-air, reproduces the trajectories of gnats. Beyond it, a presence in half-light enters the scene: it is a small sculpture, the Dancing Sorcerer, which recalls the theriomorphic figure typical of prehistoric wall paintings. The fluid, vitalistic dimension between man and nature that characterizes this primordial type of human artistic-ritual expression exorcises the complex relationship with a world far removed from today's anthropization. However, in the apical moment in which we physically approach its ideal center, the hypnotic holography and the chiaroscuro of the sorcerer vanish. The turning on of the lights in the space reveals the mise en scéne suspending the possibility of grasping a sense beyond the apparent, dramatic opacity of the insignificance of the Thermal Beings.

A mobile shelter for a person, a cocoon made of felt. This sculpture is a potential and precarious dwelling. It is a small capsule with references to architecture and biology (the smallest unit of existence, the cell). This project is absolutely low-tech. In a performance hidden from the public, f' learned from yaks and horses and their ways of crossing rivers and set out to reach the chosen place to place and set up his shelter, lie down and rest inside. By retreating into the felt, f' also adheres to anti-anthropocentric thinking and the biophilia hypothesis, a process of modernism in reverse. An exercise in solitude. f' has left his minimal abode in that place, for those who will find it or those who will seek it out. What remains of the work are some drawings and photographs, and a small artifact made of felt and bone inside which are the geographical coordinates of the monument.

FMSTMS is a work of "encumbrance of space", built in close resonance with architecture, and of re-proposition in a different location of a natural element experienced by f'. FMSTMS is constructed following a long bodily and experiential process that f' carries out starting from the identification of a giant erratic boulder, visible in linear perspective from the window of his studio. Through a walking path, the artist forges a physical and mental relationship with the large serpentine granite rock, transported there by the expanding glaciers during the erratics. The process of knowledge of the rock is composed through a daily, symbiotic and tactile relationship between f' and the rock, to the point of identifying itself as a study or refuge of belonging. The installation, reactivated specifically for each space and exhibition occasion, shows the development of knowledge of the rock and the mastery of its shapes and volumes, measurements that f' makes with atavistic technical tools, borrowed from science and archeology. The expansion of the designed mapping of the boulder “finding” becomes an inclusive tool for the spaces of the gallery, which welcomes and introduces the bulky heaviness of the revived rock.

Centocapre (literally onehundredgoats) is a participatory art project created as a form of historical reconstruction of a collective myth. It takes place in Latronico (PZ) a centuries-old village, like many in these parts of Italy, rich in traditions, stories and characters. "Centocapre is a flow, a moment in the life of the artist and the community together with which the work came to be."[P.R] f' activates a dialogue with the population of the small village in Basilicata and collects faded testimonies, collective stories, tales and fragmentary memories, partly related to ancient events and rituals, of pagan origin where nature is the center and revolutionary origin of every identity. The discovery of some finds is a further foothold for a story that combines invention and interpretation, regenerates ethno-anthropological elements belonging to the local community. The project lasts one year and includes workshops with the participation of children and adults, counting also on the collaboration of different artists and musicians, and ends in a parade involving the villagers. The end result is the story of timeless myth, that is "migrant" and "modular". The climax of the event was the vision of the turquoise heraldic symbol of Centocapre that appeared and will appear for years every night of the new moon on the walls of the village. This is the choral and symbolic moment of the advent of Centocapre. Centocapore was eventually translated into a medium-length film to be screened in the village cinema and to be installed in the exhibition venue as a multichannel video.

Poeme L’Arbre is an open-ended art project consisting of a series of autonomous results that are produced collectively. A tree that has fallen down in the forest becomes the fulcrum of a process, still on-going, that tells of the artist's need to transform it into a presence and a place to return to. It’s about being simply present to a place calling for a possible political dimension with nature as its centre. Here, art making has to do with an act of designation of a space, a momentum of initiation that consists of setting the conditions for the appearance of a constellation of visible elements, freely interconnected and finally shared.From a site of artistic production the artist’s studio has been transformed into diffused, nomadic sites for encounters, discovery and memory.

L’Ile flottante (floating isle) is the story of a floating monument that appeared in the open sea, between the shores of the Black Sea, close to the city of Sinop. An ancient salvaged stone artefact that emerged from the waters, and miraculously was floating on the surface of the water. It is an iridescent, living symbol of contemporary mythology. The more or less controlled diffusion of rumors and visions capable of feeding the collective imagination has also then contributed to the construction of its legendary memory. This artistic operation is located right in the “corrupted information” era. Nevertheless fiction is not predominant, but rather the honest misunderstanding of reality, which we find at the foundation of every story.

wall installation realized on commission. harvested mushrooms, of the species Fomitopsis betulina, are treated and prepared according to an ancient traditional technique. fixed and incorporated in the wall with stucco and finished with scagliola, they act as illuminating lamps thanks to an oil of birch bark with which they are filled. with the passage of time and use, the smoke emitted by combustion creates characteristic halos on the wall, mimicking the process of blackening typical of the old Renaissance frescoes.

Starting from a literary reference, the spectator becomes both performer and actor, in an imaginary stage, constituted by the hall of drains of amphorae. To decipher the text is to fill a gap, to reflect on its meaning is to open up new voids. f' leaves the visitor in a space of physical (the mirrors) and mental reflection, free to search, reveal, interpret. [Marta Mascardi].

The Secret Garden is an environmental installation created in the cellars of an industrial building. Just like a health spa for the mind, the exhibitory space opens into a reception area which in turn leads into a series of rooms. The cellars become caves where perceptions, sensorial stimuli and autonomous forms of life proliferate. This area, in part a scientific laboratory but also a herbarium, a darkroom, a reliquary and an artist’s studio, becomes a place where the spectator lives through an experience that gradually unfolds according to diverse exploratory perspectives. Someone could even find the key leading to an external journey which guides the spectator towards a ford in the middle of a stream searching for an island. The Secret Garden is the story of a graft. [FUR]

The Hornero is a small bird belonging to the Furnariidae family that builds its nest by mixing earth and straw and moulding it to a form appropriate for its body and for its building technique. f' in collaboration with architect Emanuele Cavallo in a performance that lasted ten days without rest, lived in a tree to build their nest using earth dug on site and mixed with plant fibers and water. They enacted an ancient craft that humans still continue to perform in many parts of the world. The nest was built with their body specifically for that particular tree in the center of town. This work explores the relationship between empty and filled spaces, drafting the basic form from which the space emerges, through a process of addition and removal of material. Tüc as ciamumma dal votï Cosimo (We can all be called Cosimo sometimes) is a tree house built in the center of the town for those who want to observe the world from a different perspective. It is a site specific playable monument that lasted for several year as long as the local community wanted to keep it alive.

"The Pit and the Pendulum," the title, borrowed from a genius of mystery like Edgar Allan Poe, already stirs a healthy doubt about the type of experience we are about to live through. To begin, one must enter a room, but first, as a sort of welcome, there is a series of incomprehensible pencil sketches and a poster that cryptically hints at what awaits us, all of which helps to ease the anticipation. You pass through a heavy black curtain, then a half-open door from which a strong yellow light escapes. The door seems stuck, hitting against an iron cot that barely fits in the small room. The light is intense, and the cot, though shabby, instinctively invites you to lie down on it, but not before putting on a pair of improvised glasses, with the right lens obscured by masking tape. Once this natural action is completed, just as your head touches the pillow, the light begins to dim, but slowly, with a few seconds of waiting. And in that imminent twilight, the left eye starts to perceive something: three lines meeting at a vertex, and a circle above the head. The light has vanished, and it feels like you're lying under a triangular pyramid with glowing lines; this mysterious architecture wasn't there before—it appeared out of nowhere. You feel like staying there, thinking, leaving everything else outside of that personal, intimate moment. But just as you're lost in thought, the sudden reappearance of the light pulls you back to the real world, perhaps just by raising your head slightly. Just a few moments to dream, to escape, and then back out to live the rest. [Antonio Guiotto]

A collection of sculptural works by f' spanning years, integral to the expansive super-corpus Absence of Work. "Sculptural gestures where form associations, grafts, and supports transform remnants of life into multiform chimeras, mute presences merging the most intimate inner vision with the embrace of the outside." - P. Rigolo Agglomerates of natural elements and artifacts, discovered and collected by f' in a personal Wunderkammern, are combined, supported, and balanced through a creative process where plastic intervention is minimal, if not entirely absent. These elements, often held together in a precarious balance, imbue the sculpture with the power of the gesture and the fragility of form, maintaining a constant tension between the imminent fall and the eternal instant of resistance.

A series of paintings made with a layering technique over portraits bought at flea markets.

Each corner is an impression of intimacy, the seed of a home. I build myself a chimerical dwelling, there I am the space in which I am immobile and my body becomes the space of my immobility. Topoanalytically in terms of the experience of outside and inside, immobility fills my refuge. There motionless I dream, and through the dream I travel, without limits. Immensity is the motion of my stillness. I no longer have a past. I tremble; I am no longer still. The inside is now in the outside (f'). f' wanders in a city that is foreign to him to find situations of intimacy in the closed and impenetrable forms of urban architecture. To search for and practice interiority while being completely exposed. Considering the marginal corner as a refuge that assures us the first value of being: immobility. Potential and precarious dwellings in which f' lies impressing his body in the dusting sheet, his only baggage. The foyer of a theater hosts the remaining part of this para-performance: an exploded installation, a free configuration of discrete elements including a photographic diary, texts, props and the 'sheet' that it is up to the viewer to discover and relate. "the exhibition ... as a public and social outcome of art" wrote Palma Bucarelli. This work is the hypothesis of a show, the mimesis of a performance. A trap.

Dudy Guard is the title of a digital photo taken from the f' personal archive. The file size is 508 Kb, and it is composed of 513,315 pixels in 256 colors. a software, developed by the engineer G.D. has calculated and located the pixels for each color in the image. This documentation is used to transform each pixel into a wooden half-cube (4x4x2,5 cm) painted with a varnish derived from the original RGB code of the pixel. Each color that makes up the entire image is referred to as a "work portions". Each portion is accompanied by a folder that contains a data sheet indicating where it is located in the digital grid of the original image and a sales contract, which states that the portion is authentic only if the buyer does not own any other portions of the same work. The price of each portion is proportional to the cost of production of the same. Therefore prices vary from a few euros to a few thousand euros. So far f' has made 15000 wood pixels, for a total of 30 work portions, 400 KG, 23 m2 and 0.5 m3. These semi-cubes of colored wood become the raw material to construct a temporary and changing installation, adapted to each new space and occasion. The possibility that the entire original image can be reassembled is limited to the remote event that all portions are made and distributed. If it were to be totally reassembled in this way, the image would weigh 13,000 pounds, occupy an area of 22.4x36.6 meters, and have a total volume of 17 cubic meters.

These drawings emerge from the delicate, ephemeral trails left by snails as they traverse the paper's surface. The organic, fluid lines they create serve as a foundation for f's gesture, an exploration of movement unbound by the constraints of representation. The hand's strokes are revealed only as the snail's shimmering trail fades, creating a dynamic interplay between human and animal mark-making. To witness the luminescent remnants of the slime, one must shift their perspective, the plane of vision must be tilted on the sheet of paper allowing the human-drawn lines to momentarily vanish, unveiling a dance of light and shadow in the delicate balance of visibility and erasure.

The 14 images are photographic sculptures arranged in a circular pattern in the space, resulting from different modulations of only two initial photographs, one taken in Istanbul and one in Venice. The first gave rise to the second, and the second is the reflection of the first. Each image is composed of four layers: two photographic prints on transparent acetate, one sheet of oiled paper, and one sheet of white paper. Layered on top of one another, the four layers are fixed together with thin, spaced nails, creating a three-dimensional image generated by transparencies and projected shadows. The floor of the space, covered with thin sheets of aluminum foil joined to cover the entire walkable surface, is the spectator's field of action. It connects and separates the distances between one image and another, amplifying individual details while nullifying subjective differences. It is up to the spectator to find meaning, a logic through muscular memory.