exhibitions / other

2021

Zapping the Archive
Bleschunov Municipal Museum
Odesa Photo Days – Odessa, Ukraine

223 (Lin Zipeng) – Brandy Eve Allen – Liza Ambrossio – Fabrizio Bellomo – Matteo Cremonesi – Marco Dapino – Giuseppe De Mattia – Irene Fenara – Maria de la O Garrido – Jaakko Kahilaniemi – Seunggu Kim – Yulia Krivich – Elizabeth Gabrielle Lee – Alexandra Lethbridge – Camille Lévêque – Sergey Melnitchenko – Giovanni Oberti – Eva Ostrowska – Benedetta Panisson – Gloria Pasotti – Sarah Michelle Riisager – Piero Roi – Simone Sapienza – Agnieszka Sejud – Alberto Singaglia – Enrico Smerilli – Marinos Tsagkarakis – Sybren Vanoverberghe – Karolina Wojtas – Alba Zari

In a world spoiled by the grammar of digital communication and the neoliberal production relationships that want everything capable of being shared and consumed faster and faster, the suspicion is growing that photographic language is increasingly losing the ability to report linguistic and postural autonomies, nourishing the impression of an imminent disappearance of the figure of the other and his images and expressions.
This makes a reflection on the work of census, selection, storage and use made by the new emerging research platforms an interesting subject to evaluate and possibly recognize the instances of this suspicion.
By attributing an interest in processing an observation thus proposed, PHROOM exhibits a selection of images from its archives, a choice of authors to each of whom, alongside others, is given the opportunity to report both linguistic autonomy and at the same time the ability to constitute, with his signs, an active part of a choral voice capable of outlining a thematic, disciplinary and aesthetic territory, to which refer as to intercept the most urgent instances of contemporary linguistic expression in the visual field.

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Zapping the Archive
Insight Foto Festival – Varese, Italy

223 (Lin Zipeng) – Brandy Eve Allen – Liza Ambrossio – Fabrizio Bellomo – Matteo Cremonesi – Marco Dapino – Giuseppe De Mattia – Irene Fenara – Maria de la O Garrido – Jaakko Kahilaniemi – Seunggu Kim – Yulia Krivich – Elizabeth Gabrielle Lee – Alexandra Lethbridge – Camille Lévêque – Ann Massal – Sergey Melnitchenko – Giovanni Oberti – Eva Ostrowska – Benedetta Panisson – Gloria Pasotti – Sarah Michelle Riisager – Piero Roi – Simone Sapienza – Alberto Singaglia – Enrico Smerilli – Marinos Tsagkarakis – Sybren Vanoverberghe – Karolina Wojtas – Alba Zari – Fani Zguro

In a world spoiled by the grammar of digital communication and the neoliberal production relationships that want everything capable of being shared and consumed faster and faster, the suspicion is growing that photographic language is increasingly losing the ability to report linguistic and postural autonomies, nourishing the impression of an imminent disappearance of the figure of the other and his images and expressions.
This makes a reflection on the work of census, selection, storage and use made by the new emerging research platforms an interesting subject to evaluate and possibly recognize the instances of this suspicion.
By attributing an interest in processing an observation thus proposed, PHROOM exhibits a selection of images from its archives, a choice of authors to each of whom, alongside others, is given the opportunity to report both linguistic autonomy and at the same time the ability to constitute, with his signs, an active part of a choral voice capable of outlining a thematic, disciplinary and aesthetic territory, to which refer as to intercept the most urgent instances of contemporary linguistic expression in the visual field.

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THE KENNEL // Demetrio Giacomelli
Office Project Room – Milan, Italy

With the film The Kennel, Demetrio Giacomelli performs a complex operation that sees him simultaneously engaged on two fronts, interrogating the new languages, genres and narratives born within the second digital revolution characterized by the pervasiveness of social networks, and at the same time attempting a story of these characterized by the eclectic and courageous commitment to connect the expressions and results of this neo-scene to a visual-narrative tradition found within a profound and rigorous cinematographic culture.

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2020

LOWLANDS // Marco Gobbi, Domenico Antonio Mancini, Piero Roi, Marinos Tsagkarakis
Office Project Room – Milan, Italy

It is difficult to convey the sense of loss that a careful listening to the surrounding and the present makes on the impressions of the landscape around us.
The almost ‘total lack of otherness’ colliding with an ever greater availability of incentives and experiences are only one of the symptoms of an ongoing desertification that, starting from economic malaise and its depressions, invalidates the description and literacy of the world and of its possibilities. Almost that at the end of this interminable negotiation between a humanity increasingly in difficulty and the description of a schizophrenic entertaining with expressions that are never really dissimilar, we will find ourselves living again in the Middle Ages.

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Zapping the Archive
Getxo Photo 2020 – Getxo, Spain

223 (Lin Zipeng) – Brandy Eve Allen – Liza Ambrossio – Fabrizio Bellomo – Matteo Cremonesi – Marco Dapino – Giuseppe De Mattia – Irene Fenara – Maria de la O Garrido – Jaakko Kahilaniemi – Seunggu Kim – Yulia Krivich – Elizabeth Gabrielle Lee – Alexandra Lethbridge – Camille Lévêque – Ann Massal – Sergey Melnitchenko – Giovanni Oberti – Eva Ostrowska – Benedetta Panisson – Gloria Pasotti – Sarah Michelle Riisager – Piero Roi – Simone Sapienza – Alberto Singaglia – Enrico Smerilli – Marinos Tsagkarakis – Sybren Vanoverberghe – Karolina Wojtas – Alba Zari – Fani Zguro

In a world spoiled by the grammar of digital communication and the neoliberal production relationships that want everything capable of being shared and consumed faster and faster, the suspicion is growing that photographic language is increasingly losing the ability to report linguistic and postural autonomies, nourishing the impression of an imminent disappearance of the figure of the other and his images and expressions.
This makes a reflection on the work of census, selection, storage and use made by the new emerging research platforms an interesting subject to evaluate and possibly recognize the instances of this suspicion.
By attributing an interest in processing an observation thus proposed, PHROOM exhibits a selection of images from its archives, a choice of authors to each of whom, alongside others, is given the opportunity to report both linguistic autonomy and at the same time the ability to constitute, with his signs, an active part of a choral voice capable of outlining a thematic, disciplinary and aesthetic territory, to which refer as to intercept the most urgent instances of contemporary linguistic expression in the visual field.

DIALOGHI // Fabrizio Bellomo, Peter Fend
Office Project Room – Milan, Italy

The exhibition brings into dialog e the works “Villaggio Cavatrulli” (2010-19) by Fabrizio Bellomo (Bari, 1982) and Sicilia 1 (2018) by Peter Fend (1950, Columbus, Ohio), granted by the gallery Pinksummer Contemporary Art. Within the series of shows Dialoghi, which combines the researches of young artists with the works of established ones, the exhibition project aims to stimulate reflections on their different methodologies, references, influences and less explicit similarities. 

The images by Fabrizio Bellomo concern the folds of the Apulian landscape identifying in an architectural archipelago of waste, marked by the exploitation left by the activity of quarrying and extraction of building materials, an opportunity to define a new possible condition of living. ‘Villaggio Cavatrulli, stretched between an illuminating planning and utopian expression, proposes an environmental view that invites us to modify our ways of experiencing the places we pass through every day, alchemically elaborating a set of tailings architectures, production and valorisation scraps up to the paradigmatic expression of a living otherness. 

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2019

PHROOM for the Future
Art Stays Festival – Ptuj, Slovenia

Cassandra Klos, Christto & Andrew, Liza Ambrossio, Matteo Cremonesi, Matthieu Gafsou, Marinos Tsakgarakis, Shyue Woon, Synchrodogs, Valentin Fougeray

SLIGHTLY ALTERED // Synchrodogs
Office Project Room – Milan, Italy

Working on ‘Slightly Altered’ project artistic duo Synchrodogs went into a one-month trip across Carpathian Mountains to discover how far people managed to intrude into the territories that were meant to be wild. People have always been shaping natural forces around them. But is there a limit of resources the Earth would allow us to use? “Slightly Altered” is a reflection on how much we are intertwined with nature – changing the environment, we change ourselves. The project is about interdependency of humans and nature and the new ways the Earth begins to look as a result of our interventions into the environmental processes. Over the month of travelling artistic duo had to face a lot of controversial situations: getting to know how thousands of trees are being lumbered by locals weekly, all illegally, for the sake of getting paid, seeing taxidermied animals in every mountain restaurant, hotel or house and never spotting at least one live animal in the forest, stomping out a fire on the mountain valley after some people irresponsibly left a campfire to stop burning by itself. Witnessing these and other intrusions into nature, Synchrodogs have started reflecting upon how much we, like all life, both alter our environment and are altered by it. Creating installations meant to live for a single day and photographing them before they decay, Synchrodogs’ images preserve vistas that are—sadly—likely to be irrevocably altered by the next generation. An abstract reflection on human exploitation of nature, the project is also a visual message about the importance of education – not the one about numerical or verbal literacy but the one that teaches us to appreciate nature and to live our lives with awareness, responsibility, and care.

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PARADISO // Liza Ambrossio, Marta Roberti, Ettore Tripodi
Office Project Room – Milan, Italy

“PARADISO” is a group exhibition that sees Ettore Tripodi (Milan, 1985) Liza Ambrossio (Mexico City, 1993) and Marta Roberti (Brescia, 1977) explore the themeof paradise. The authors address and inflect the subject with different narrative attitudes. The artists’ approach to the theme is very distant–diverse expressive practices together with different mediums (drawing, painting, sculpture, photography) restore the complexity of a subject that crosses the history of humanity in aheterogeneous setting, where singular individualities are strengthened through comparison. Ettore Tripodi proposes a narrative in fragments–a series of ten drawings alternating visions of the myth with fragments of a daily paradise; as well as an evocative, eclectic painting that combines forms andstyles of ancient painting with signs belonging to other imaginaries. The same approach is found in the three painted ceramic sculptures, where the shape of the sculpture object dialogues with what is painted above, triggering short circuits and paradoxes.The work proposed by Marta Roberti (part of a series of fourteen works revolving around the sametheme), looks at the historical and anthropological structure of the same subject. It reproduces–with thestrong and characterizing gesture that runs through the artist’s practice–maps of the world of the Commentary on the Apocalypse by the Spanish monk and theologian Saint Beatus of Liébana. The text was written in the eighth century and transcribed and illustrated between the tenth and eleventh centuries. Then there is the approach of Liza Ambrossio. In her work the subject is intercepted within aphotographic practice involving a story that is constantly oscillating between magical symbolism and biographical narrative. It is set in places that a familiar to the artist but read and narrated through a disenchanted, amusing and unnatural perspective. Ambrossio strives to construct an imaginary in which psychology, biology and mysticism are curiously brought into play as a function of a rich and stratified narrative.

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From dim to clear to curve // Simona Barbera, Ronny F. Dahl
Office Project Room – Milan, Italy

“From dim to clear to curve” is an installation project created by Simona Barbera and Ronny Faber Dahl for the garden of Office Project Room. In the garden, two modular metal structures make up the main installation, together with fabrics cut in different forms, and a series of stacked sculptures made of composite acrylic, cement, and rubber.
By looking at the shape of different spatial architectures within the city, the installation juxtaposes surfaces that are typically used as deterrents to prevent loitering or any unnecessary holdups in spaces. Barely noticeable hostile surfaces like iron tips and jagged edges on railings, fences, stair sets and benches in places such as banks, shopping streets and official buildings, have become parts of cities’ passageways where they inhibit any irregular usage like skateboarding or sitting by shop windows. Architectures that adopt a minimalist approach have the same infringing function as the more aggressive urban designs, like the vertical leaning benches at bus stops. The installation uses the same modules and “data-sets” of railing designs and further neutralizes them, dispelling their hostile nature by turning them into sculptures that offhandedly reduce them to their bare form which, in turn, blends in with the fenced-in urban garden surroundings as a free-standing scaffold. A hand-sewn piece of cloth is wrapped around the rail, uncovering a pattern made from algorithmic computing processes of interrupted graphics. An array of hues varying from smog-color greens, to grays and purples, along with automated industrial metals resonate with our tactile memory of passing through, while all shapes become ultimately suggestive of a digitally generated composition. By recognizing the ambiguity between public urban planning and private property protection, the altered forms question the ability of designs in the commons to function as a structural grid in which bodies are blocked or moved. Because of their intrinsic duality of supposed intended function/message-in-form, these given designs fade as, the moment someone impulsively sits on top of the edge of a leaning bench, no more intention is present. Like looking past an advertising display, shifting the clear gaze and staring into the distance, which becomes curved into only mere colors and shapes.

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DIALOGHI // Matteo Cremonesi, Bruno Muzzolini
Office Project Room – Milan, Italy

The works presented by Bruno Muzzolini and Matteo Cremonesi are characterized by a strongly authorial practice that sees the artists engaged in a linguistic refection that finds, starting from the interrogation of the language and its disposition, the signs necessary to outline a territory of dialogue.
By entrusting the works with the possibility of reporting each argument, the two authors discuss the complex relationship that affects the postural limits of language – linguistic device, finding for these a form of action in which, despite the formal differences proposed by the two kinds of research, it is possible to intercept for both the terms of a query that finds its focus in the search for a listening of the gaze and its modus operandi.

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PHROOM x Odesa Photo Days 
Odesa Photo Days – Odessa, Ukraine

Yatender – Éva Ostrowska – Yoshikazu Aizawa – Brandy Eve Allen – Cassandra Klos – Tsagkarakis Marinos – Fabrizio Bellomo – Christian Michael Filardo – Demetrio Giacomelli – Gloria Romanovich – Nora Lowinsky – Iva Kontic – Seunggu Kim – Sybren Vanoverberghe – Maria Mavropoulou – Piero Roi – Liza Ambrossio – Alexandra Lethbridge – Christto Andrew – Ginevra Shay – Jaya Pelupessy – Giovanni Oberti – Enrico Smerilli – Valentin Fougeray – Matteo Cremonesi – Simone Bergantini – Alberto Sinigaglia – Bruno Muzzolini – Fani Zguro – Mauro Folci

2018

DIALOGHI // Demetrio Giacomelli, Mauro Folci
Office Project Room – Milan, Italy

The performative actions of Mauro Folci and Demetrio Giacomelli dissolve each other in a continuity of images and suggestions, where the liminal reflections on history and on cinema act as a guide between the rubble of personal memory and even before that of a suprapersonal one. A succession of images between reality and fiction, flow of consciousness where the monologue, the inner voice, holds the fragments of the discourse on
historical time and on the cinematographic image beyond the screen and the representation.
The proposed actions offer through irony and jokes the necessary distance so that the public can experience on a dialectical plane the becoming of performative action.

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DIALOGHI // Francesco Fonassi, Lucio Fontana
Office Project Room – Milan, Italy

Francesco Fonassi establishes a close dialogue with ‘Concetto spaziale, ovale’ by Lucio Fontana, a ceramic piece made in 1968. Secondo distretto– the core of the presented works – arises from a perpetual interest in the development of war technology and its derivations, the techniques and methods of shooting and diffusion of sound in space and the falsified, popular panorama of the so-called pseudosciences, in a relationship between the body, mind and architecture that is almost never balanced. 
Instances such assender-receiver,shield, inset, barrier, andsensory leakage are revealed in a configuration of synthesis as forms and prototype forces. Fonassi starts a model reduction path, imagining an urbanised district where buildings are designed to bring the inhabitants together according to experimental and dissociated practices, typical of psycho-physics, acoustic persistence and radiophony. An array of scalable, rational and mental devices and infrastructures.

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2016

And there was evening and there was morning  // Simona Andrioletti
T14 Contemporary – Milan, Italy

“So it was evening, then it was morning: and it was the first day.” How does the beginning of everything look like? That eternal energy that generated the first beginning, the early morning of all time, for Simona has to do with an explosion: the fire, linked to the Latin verb foveo and to the Greek words φῶς (phos), light. Imploded energy, the Genesis of all moments.

It is with one of the simplest destruction tools, the Molotov bomb, that the artist opens her personal exhibition, where an explosion accompanies us on a journey that with great delicacy investigates the boundaries of human exploration, in its higher sense.

That man who wants to know, measure, ennoble. How much space does the highest point of the Earth occupy? “I asked Silvio Mondinelli, the sixth mountaineer in the world to have climbed all fourteen of the eight-thousand of the Himalayan chain, (without the help of oxygen) to recover through memory the space of the summit of Everest. He traced its perimeter in 1: 1 scale on a piece of paper” says Simona. This perimeter was used as a template to create a marble base, where Silvio Mondinelli’s signs and writings make that memory immortal in the most faithful way possible. In that memory, Francesco Šljiva Venturi gives life to a primordial sound that once again seeks a point of contact with the origin, through the use of his voice and a single instrument: a shamanic drum, purpose-built by a craftsman for the performance. 

He will climb “on the top of Mount Everest” to sing a variation of Ives’ Unanswered Question, in the lowest possible pitch. It is the elaboration of an impossibility: to go as high as possible while going as low as possible. 

UR-NA // Danilo Vuolo
T14 Contemporary – Milan, Italy

Ur-na is the mysterious echo of language. It is an ode to something unspeakable, that moves in the ravines of everyday life, confusing itself in the flow of events. Uri-na precedes the search for a sense, a determination, a body.  It’s a shade between shadow and transparency. It is a frequency to listen to the simple existence of a glass, of a hand, of a gesture.

UR-NA is what Luis Carroll defines a portmanteau word, a neologism deriving from the fusion of two different terms: “UR” a powerful and rare German prefix that indicates what is primitive, and “NĀ” Indo-European term that indicates the flow of water understood as a denial of the act of seeing.
With these ancient Indo-European peoples, the idea of negation arose from the experience of the darkness of the nocturnal waters. In those times, it was believed that the dark hours of the night were caused by the end of the period of motion of the bright daytime ocean, and the subsequent coming around the ocean floor of dark waters. So, during the night to the question “What do you see?”, the answer could only be “One sees only NĀ” and that is water, equivalent to seeing nothing. (from the critical text of: Elisabetta Rastelli)

The series of works presented by Danilo Vuolo, are in fact shadow scripts, in which the artist contrasts his natural transparency due to the presence of water and emphasizes the use of different vitreous objects. That of Danilo Vuolo is a reflection on language that, in a moment of information overload, aims at the potential of the “unspoken”, a notion with a long history of reflections behind it and that becomes here sensorial and imaginative stimulus.

Trust Magnum // Younes Klouche
T14 Contemporary – Milan, Italy

In central Switzerland, international companies enjoy tax privileges and set offices in large buildings just like those of The City in London. The managers and employees roam the streets of a small village in german convertibles or running clothes at lunchtime.

The management and research division of these companies is based in Switzerland but the production take place in developing countries, nations that own valuable materials at cheap price. The only small thing is that operating in such a kind of places they can easily evade from respect human and environment rights. Glencore for instance is a giant wholesaler and mineral extractor based in Baar, is one of the biggest commercial company in the world, in 2010 they owned the 60% of the zinc global market, 50% of the copper mines of the and 3% of  the petrol infrastructures. We can say that Glencore own worldwide oil, mineral and natural gas facilities as well as food industries. The accusation on Glencore are heavy, the work conditions of the employees are unacceptable based on the western world standards, without mention the negative impact on the local communities and on the environment.
The work of Younès Klouche not pretend to judge those dynamics, or using images as a tool of complaint of a ethically questionable legacy, handed down from company to company. The artist gives us the access inside of this tax free heaven,  absorbed in one of the most beautiful landscape of the entire nation.
With no privileged access on site, central Switzerland allowed Younès Klouche to observe what makes no uproar, spy the discrete practices of traders hide inside dark and shiny buildings that hits also the less attentive watch. As spooky postcards, made with sharpen and rigid elegance, the images of Younès Klouche are almost violent and creates an aesthetics experience that leave the observer frozen. An intangible cold that deals with the distance, the untouchability of a world that remains closed in a inscrutable bubble of glass. 

UNDERTOW, memories of an american journey // Mara Palena
T14 Contemporary – Milan, Italy

Undertow is the english term that describes the process whereby an underwater current flows strongly away from the coast taking with it everything it touches. Undertow, just like the water current, brings back the memories of a journey that belongs to the road. Projected in the midst of extraordinary nature these roads murmur so many stories lost between the natural colours of the day and the artificial lights of an American night. The undertow doesn’t just allude to water, this phenomenon can also allude to a vice hardto escape from or a feeling that you cannot shake. Fascinated by the modern world, tourism and sub-culture, the artist addresses herself to what is known as the sub-genre of photo-reportage: Street Photography.
Bruce Gilden once said: “If you can smell the street by looking at the photo, it’s a street photograph.”.
In Mara’s shots the smell of the street is filtered by a tender look and evokes unexpected memories.

Modus Operandi
Ex Fornace – Milan, Italy

The exhibition borns with the intention of opening an overview of art photography and contemporary painting in Italy. 30 artists are called upon to give voice to a precise moment: a reconnaissance that finds its expression in a dialogue that over the years has always taken on the tones of debate: the relationship between photography and painting.
In the past, the ‘new technique’ was used by all painters as a mnemonic support for their works: to investigate chiaroscuro and the many varieties of light and shade, to draw new inspiration, to tackle a study or to get a preview of the work. Throughout its history, photography has been suggested as a useful aid, a substitute for drawing in the observation of reality.
Artists and critics have always commented on the aesthetic value and the limits of its “imitation”, sometimes arbitrarily circumscribing its boundaries.

2015

Luck doesn’t exist // Urs Luthi, Maria de la O Garrido
T14 Contemporary – Milan, Italy

Considered one of the leading exponents of European conceptual art, Urs Lüthi has experimented throughout his career all forms of artistic representation: from the famous self-portraits of the ’70s, to painting, to sculpture and installations, always passing with coherence through a dialogue with his eclectic alter-ego. Using self-representation as a capacity to become a spectator of oneself. The depth of Urs Lüthi’s reflection lies precisely in this dualism between solemnity and irony, poised between comedy and tragedy, on the senselessness of existence.

Humor, dressed in irony, biting criticism, sometimes blatant and not lacking in visual talent, has always been present in the history of art, but today the extension of reference frameworks, such as the use of new media, in particular, photography and video have widened the possibilities for a more direct expression of all those suggestions, even useless or sometimes negative, that we perceive on a daily basis, progressively contributing to transforming humor into a true narrative element.

The work of Maria de La O Garrido collects traces of life, scattered here and there between real memories and impossible constructions of an actual reality. He works with the image in a completely original way, through the use of various photographic means and not: collages, drawings, recovered images and objects, using these mediums as a tool to build a sort of eternal composition of suggestions and discoveries. The imagery created by Maria is a selection of elements, taken from an infinite spectrum of places and possibilities, then juxtaposing them, contextualizing them and realigning them giving them a new meaning. 

There must be more life than this // Anthony Gerace
T14 Contemporary – Milan, Italy

There Must Be More to Life Than This is a project started in summer 2011, but the artist said its origins can be traced back to 2009 in a series of posters and album packages. Collage, photographs, and typography are the three main elements of his work.

Some chromatic collages are formed by cut-outs of the pages of a vintage magazine belonging to his life, other artworks by the photographs of people or advertisements. Portraits shot on colored backgrounds and used for magazine covers become abstract formal experiments hinting to what’s missing in the image: the loss of the person’s figure, carefully taken out of context, as that context folds in on itself. In other pieces, the absence of the parts is predominant, and what is left is only some lines and edges, holding together the geometrical traces of a profile. 

In Anthony’s artworks, the absence is what forms the image, creating an enchanting aura of mystery and immortality.

Another Lonely Night // SNUFF
T14 Contemporary – Milan, Italy

Highlighting the disappearance and the mixture of visual languages, the artworks produced by SNUFF collective focus on the experimentation and the research of new routes for language and aesthetics. Moreover, they question the visual habits of contemporary society, used to this mixture between images and genres, and thus ever-more unable to focus on the single element that constitutes the image itself. The group’s tendency to question society’s habits makes this project a perfect fit for T14’s line of thought, always searching for the most contemporary art practices.

AMERICAN/LATINA/JAPANESE LANDSCAPE, is a project by SNUFF collective (Matteo Cremonesi and Enrico Smerilli) made up of three photographic series obtained from cut-outs of pornographic pictures taken from the Internet. These images gather information about environments, forms and spaces, exasperating their features. Scenarios become objects capable of putting on focus different aspects of the environments in which the pornographic body lives in its various cultural perspectives.

The physicality and history of a place and the presence-absence of the elements are captured in their spontaneous structure. The attention is constantly obstructed, due to the peculiar framing and the continuous omission of human subjects. The observer is thus forced to focus on new elements that, as a whole, constitute another visual subject.