.2016

Because History is a trace that we have left, we study and question the trace of others, to understand how to leave ours, how to exist. My pieces at the beginning started from a discourse on the trace, about how we leave one and how we find traces in memory and oral history, about what remains and what is left of untold or interrupted stories, the value of such testimonies in questioning ourself and institutionalized stories, in defining a future memory.

Then, with a personal process about the social implications of my practice, together with my recent life experiences -being a new graduate during the economic crisis in Italy, witnessing a nation of jobless people losing belief in a future, having been part of this, waiting for an email to change our life and seeing immigration as a way out. The conditions of becoming a collective in this historical moment, and an investigation on the meaning of community, engagement and belonging, emerged as crucial aspects of my research.
At the same time, being someone that has never felt connected to a place since childhood, the drifting and unrooted sense keeps me moving and traveling toward interesting social fabrics and communities I don’t belong to, initiating processes of dialogue towards learning and acceptance.

As an artist I have been investigating “dynamics” in order to create relationships and experiences. My practice is concerned with the creation of the space and conditions, to initiate and facilitate them. The space can assume different forms such as a newspaper, an office, a club, a sound installation in public space or a pair of salt walls, but they all are Spaces of encounter and dialogue, an Art as a practice that takes care of needs. Given the possibility to re-discuss an issue; as the practice of an engineer that is to find and foresee problems, and then give possible solutions I work on the stories I encounter, often collaborating with “communities” as an outsider.
 Symbolic places and materials, usually become key parts of my history and site based projects.

My performances have always been a way of probing the “frontier” between the performer, the spectator and the witness, investigating in a wider discourse, in the public space, the agency of the citizen on the real and the arts.

I aim to lay the foundation for an experiential relationship with Memory, to develop awareness in the Audience through the encounter and experience of tales and thresholds. The goal of my work, is to foster thinking and bring Art closer to the citizen, making it a meaningful and “useful” tool, to improve the future and us. My pieces aren’t political but they activate politically the spectator, they ask the audience to take a position toward a subject, to reconsider an event, to start a dialogue with memory and with others.

Interested in understanding how and what we can create together, I co-founded different collectives as “labs” where empirically test co-creation between different persons and disciplines. Bringing forward my investigation on testimony and participation, my “experiences” have become day-long performances and transient projects, evolving and improving with participants feedback during the time