Sergiu Zamari, Kiev 2013.

elenaElena Giulia Abbiatici (1983 Brescia. Lives and works in Rome).
Art historian, writer and curator of contemporary art.
My curatorial vocation is directed in particular to the experimental artistic research that expresses itself through “new media” and/or reflects on the relation between technology and life as new way to see and screen the world, conceiving “new media” as land and means of investigation.
Specifically I am interested in video and sound installations, with a focus on the implications that migration, globalization, Web 2.0., climate change and fragmentation of power and religions are having on individual and social identities and on the places where we live in: everything that is defined and could not be better expressed than in the term “contemporary art”, analyzed in relation to the multiple reference fields (ranging from philosophy to science, from literature to music, from theatre to cinema, from history to architecture).
As far as means concerns, I’m focusing on the study of sound art, as creative entities in relation to the replacement or images, through a column on the aesthetics and semiotics of sound Arshake.com
Since 2010 I’m active in the curatorial duo Abbiatici-Levy, that I founded with Valentina Gioia Levy. Then, in 2015 I founded Nation25 http://www.nation25.com with Sara Alberani and Caterina Pecchioli, an inclusive artistic platform that seeks to bright on the experiences of migration, invisibility and marginalization.



Project by Elena Giulia Abbiatici

Nine days before his death, Emmanuel Kant received a visit from his doctor. Although old, sick and almost blind, he stood up, trembling of weakness, whispering incomprehensible words. The doctor understood that Kant would had never sat down if he wouldn’t sat down, thing that he did and Kant replied, “I have not yet failed the sense of humanity1”
For Kant Humanität meant principles liberally accepted and imposed to himself. Historically, the word Humanitas had two different meanings: the first one as value, due to the relation between man and what is less that man (the barbarous), the second one as a border, due to the relation between man and what is more than man (the divine).

The concept of humanity as value discerns the “Homo Humanus” (man human) from man barbarous, who has no pietas and paideia, that means respect for moral values and for culture.
When during the Humanism Marsilio Ficino defines the man as “the rational soul that is part of the divine intellect and works in a body”, says that he is the only being independent and completed. And Pico della Mirandola’s well known discourse about the human dignity says that the man is at the centre of the universe to become conscious of the space where he stays and to decide freely what sees. The human dignity is proportional to his freedom. So the Humanism more than a movement was an attitude of conscience of values (rationality, dignity, freedom) and borders (fallacy, weakness and finitude) that means responsibility and tolerance.

Something Else is the intention to think to a new kind of Humanism, starting form the observation of the real city life, like in a scientific process, and to hypothesize a “new togetherness”.

“What does Togetherness mean? What does being together represent?” Society.
“Which kind of spirituality does this society need?” Humanity.

“And how can we re-­‐think the concept of Society in the era of social media where the concepts of to be alone and to be together are subverted? And can we re-­‐actualize the concept of humanity in a society devoted to what people represents in the social context?”
I believe we have to speak about Societing (< Society+Making), starting from the Social Contract by Jean Jacques Rousseau (1762) and including the logic of the augmented reality.
Rousseau’s issue outlined the idea of a democratic state and therefore was resumed, thirty years later, as a reference during the French Revolution. Rousseau remains actual because of he denounced inequalities and the difficulties of man to become man.
Augmented reality incomes the idea to expand the reality, the perspectives from which we see the world. We can see how the multimedia platforms helps us to share thoughts, information, points of view and to grow projects. As citizen of this world we have to be also citizen of the Web, not only users, and so to know rules and rights, times and spaces. In the era of Social Network, where everything has to be shared and digitalized, the challenge is to stay human.
The show wants to reflect upon the paradox of our times, the two sides of technological progress: from one hand ease of movement and cultural exchange and, from the other side, the fear that locks and seals: it’s an eternal Hiroshima relentlessly. While Internet provides information and offers communication facilities, the surveillance freezes the users within: we are in a digital vertigo, like in a Hitchcock’s horror film, dominated by surveillance and voyeurism.
So which new forms of social contract, which social compromise we are willing to follow? How could we build a “general will”, capable of being expression of citizens’ desires and rights, a pact of the citizens with themselves?

Something else could be also an occasion to write again a Social Contract interfacing with this new context 2.0. and its needs, exploring the fundamental elements on which the Egyptian society (in translation) is based: the territory, the language, the relationship, the public order and the law, the identity, the economy and gender equality…

The artists invited are: Emilie Brout and Maxime Marion, Marco Cadioli, Robert Cahen, Alka Cappellazzo, Michelangelo Consani, Alessandro De Francesco, Ra di Martino, The Emilie La Reine Foundation, Shady Elnoshokaty, Matias Guerra, Khaled Hafez, Amanda Kerdahimatt, Marco Mendeni, Chiara Passa, Jacques Perconte, Mariagrazia Pontorno, Calixto Ramirez Correa, Antoine Schmitt, Guido Segni, Voidcollective, Zimmerfrei, Fabien Zocco.

In collaboration with SECONDO STILE (a Nomadic canvas-­‐based Artist Run Exhibition Space founded in 2013 by Paolo Chiasera), THE WRONG – New Digital Art Biennale, Pavilion [in]Exactitude in Science, curated by Filippo Lorenzin and Kamilia Kard) and NATION25 (artist platform founded by me, Sara Alberani and Caterina Pecchioli that wants to open light on the them of migration , invisibility and borders).

A New Social Contract
By Elena Giulia Abbiatici

Michelangelo Consani, Tensions from below, installation, 2015.
is a cable that becomes the horizon line of a “new landscape” and at the same time a barrier-border that needs to be overcome, making a gesture that is similar to a “bow”.

This bow is a simple gesture that becomes an act of individual responsibility, which aims to a change of position in respect of our being in the world.

“It is necessary to produce profound changes in the psychosocial organization of Western man, in his attitude towards life, essentially in his imagination. (…) It must be abandoned the capitalist imaginary of a pseudo-rational pseudo-control of the world. Only men and women together can make it. An isolated individual, or organization, can at best prepare, criticize, encourage, outline of possible orientations.”

is “A NOMADIC CANVAS-BASED ARTIST RUN EXHIBITION SPACE” founded by Paolo Chiasera in 2013. Otherwise it’s a painting that functions like a space. It’s a painting that is at the same time an exhibition space. The imaginary allows the artists to define a new productive meeting place, thus allowing new modes of collaboration. Wedding as a new marriage ceremony between a canvas and new territories, new guests artists, new meanings every time.

Rä di Martino , W
orks that could be mine and works that I would like to be mineongoing.
This is an ongoing written project Ra di Martino started in 2004. It was born by taking notes of other artists’ works that bear a striking resemblance to ideas I have had but have never done or works that I feel close and I like so much I almost wish I had done myself. I catalogued these as: ‘works that could be mine’ & ‘works that I would like to be mine’. She also started to consider what other artists’ lists would be like and she has invited other artists to fill in these two lists in different contexts and with different types of publication. For this occasion, Ra di Martino will invite ohter artists involve in “Something else” to put there work in dialogue. The answers will be presented in the show as an ongoing project.

Chiara Passa, Postcards from beyond, from elsewhere…,
series of N widgets, 2015
“Postcards from beyond, from elsewhere…” is a series of several interactive widgets ready to be installed between the desktop interface and the dashboard, just writing few simple command lines in Terminal.

The widgets unfold in a very liminal space/place: between the network and the computer – between the Internet and the post Internet. So, the Widgets are the conjunction between the medium and the message.

“Postcards from beyond, from elsewhere…” is the metaphor of a new imaginary and interactive media that would mediate impossible desires between machine and audience.  These sorts of ‘spiritualist widgets’ are absorbed into an illusory threshold, hence they can be augmented through AR, or they can answer replying to some existential and philosophic questions… being totally dynamic and interactive.” (Chiara Passa)

Shady El Noshokaty, A lesson in geography, performance, 2015 (one shot day)
The lecture offers new visual research to question the concept of the place and the concept of Nations’ geographic borders.

How can we define our reality state when we have been turned into something similar to electronic molecules, moving in fast speeds through networks, online controlled from some unknown flouting site in the space?

‫Is the space in our mind or in the universe around us? The concept of the lecture performance is a combination of visual experiences and Informatics, which may force the recipient to physic or even mental interaction. The performance will try to create answers and relationships between various conceptual experiences, through direct readings, drawings and live performances. Topics take an interdisciplinary position, which tends to blend at the same moment between science, areas of visual research and intellectual differences. The participants in this case become greeted with their own creative answers and can create a unique way of experiencing information. It may have a significant impact in the way they perceive what they learn in their future.

Robert Cahen, Alessandro De Francesco, Matias Guerra, This is an Unknown Surface
, video, 2013, 11’
“This is an Unknown Surface” is an oneiric voyage in the interaction between writing and perception, and between nature and culture. Language is filmed on four interwoven surfaces: an ancient stone in a Chinese temple, the written work of a contemporary artist, a software-processed voice reading a poetically dense text and mysterious lotus leaves that preexist to writing and exist beyond writing. Entirely shot in fisheye, this film pushes to the limits of the screen the distinction between language and image.

Alessandro De Francesco, Augmented writing, 2013.
Augmented Writing is a language art project and a writing method.
Each Augmented Writing object contains multilingual digital text and hand-written material. The text comes from web news, virtual reality environments, social networks, but also poems, transcriptions of speeches and dialogues with people, etc.

Augmented Writing builds up emotionally dense, multi-layered narratives through a verbal material that is processed under a radically iconoclastic political and cognitive perspective.

The augmented writing is a sort of new literary genre, halfway between poetry, conceptual art and storytelling. Through its complex verbal structures, Augmented Writing changes the paradigm of narration and asks the reader-observer to develop specific reading techniques.

GENDER EQUALITY, between the tradition and the way to freedom
Eric Robert Wolf, in his book “Envisioning Power: Ideologies of Dominance and Crisis” (1999), proposes a redefinition of power that emphasizes diversity, ambiguity, contradiction and imperfectly shared meaning and knowledge.

Amanda KM, Filtered Conversations at Round Table, installation, 2015
The work merges the female body, sexuality, and smoking to explore the taboos associated with the three in Cairo, Egypt. Filtered Conversations at Round Table is a project that not only steps over the boundaries of the taboo, but creates an atypical space where intimacies are shared rather than concealed. The artist has conversations with women living in Cairo about their experiences. As the conversations take place, she invites the women to share with her snacks, beverages, cigarettes. Collecting the tracks and using them as vestigial recordings of the conversations, Amanda juxtaposes them with soundless videos conversations, inviting the viewer to experience fragments of complex female life. Here some topics: working in a predominantly male field, mobility, class divides sexual harassment, action vs. complaining, male perception, appropriateness, gender roles, external judgment, internal conflict, not removing hair, support system, imaginary friends, fitting into boxes, first love, loaning money, supporting someone you love,emotional abuse, attachment, sex…

Mariagrazia Pontorno, Cairo’s skies, three channel video installation, 2015
Mariagrazia’s research centers on 3D animation to recreate images evoking the facts of everyday life and the passing of time. 3D is a language that allows her to conjure visual paradoxes: the familiar suddenly looks distant, foreign, and uncanny. With the use of complex and sophisticated video animation software, Mariagrazia realistically reproduces scenes where the boundary between reality and fiction appears blurred and immaterial: they are artificial duplicates whose distance from their analogic model generates short-circuits of the vision.

Cairo’s skies is a documentary that aims to be a reading for images of the post Arabic Revolution situation.

The point of view of artists and intellectuals are told by Mariagrazia Pontorno, who devotes particular attention to photography of the respondents and landscapes, to the choice of images and the use of 3d animation footage.

The music will be composed by Aeham Ahmad, Yarmouk’s pianist, a symbol of the art resistance compared to the bleak setting of real and metaphorical rubble of the Egyptian society

video-performance, 2013, 10’
NOISISFULLOFWORDS documents a performance in which a voice recognition software writes down what it understands from the noise made by an electric guitar. The text obtained is reused as vocal score by the performer and is translated in turn into musical sheet, closing the loop.

How does the law attack and defend us at the same time? Which is the difference between surveillance and defence?

How much the law is able to translate the needs coming from the society? Several times these needs remain noise due to the difficulty of social interpretation. The system stops itself in a never ending repetition.

Miguel Andrés,System, video performance, 2014, 4:49′
Every system requires a set of established basis that supports it and prevents its collapse. Definitely the socioeconomic system that shelters humans is not exempt from these rules.
For proper operation it requires to program terminals/individuals with the basic notions of operation. Social rules and religion are just some, since any stimulus received from the outside is assimilated as their own. 
This work is intended as a digital allegory (in pure 21th century’s style) of how The System inserts in us the basic guideline for its own perpetuation. The same individuals defend the System’s basis.

In Cairo we see a traffic life and a chaotic system, made by contractions and expansions, that are also expressions of human chaos and freedom. The weel-known Nietzche’s mots : “One must still have chaos in oneself to be able to give birth to a dancing star” has to be read again. Nietzsche identifies chaos as “the creative potential within culture…the will to power…the fundamental essence of the world.” The challenge is to make the chaos a means of creativity and human force, the ability to transform the world in a piece of art.

Calixto Ramirez Correa, El destiempo, video, 2013, 2’01”
Ramirez confronts his own body with different scale and geo-social realities, he is a planetary walker or Flâneur of the urban environment. He creates a dialogue with new spaces in a meaningful and stimulating way. In this case the artist interacts with Alfredo Jaar’s installation at the Chile Pavilion – 55’ Venice Biennale. The Chilean artist presented a plastic of the city of Venice that submerges in and merges again from the Venetian waters. Ramirez works on the imagination of Jaar, creating an opposite force and movement. While the city rises up, the artist goes down and vice versa. The attempt to go in an opposite way from the system.

Zimmerfrei, Hometown – Mutonia, documentary, 2013, 69’
A documentary film about the Mutoids’ camp in Santarcangelo di Romagna, a medieval little village in the middle of Italy, near Rimini.

Mutonia is a strange village inside a village, a temporary town which has been transformed over time, relating to a bigger urban, territorial and social context. It was born out of the anarchic, iconoclastic and experimental spirit of the travellers and cyber punks who founded it; the town has been home to two generations of travellers and has become a place of origin, a “motherland” to come back to, or to stop and raise children.

THE NEW IDENTITY – a combination of Historical one (past present future, religion and myths) and the digital one

Khaled Hafez, Idiers’ Logic, mini-DV, 24 minutes, 2003 *

What does it mean to be Arab African and Middle Eastern in a post-September 11 world?

Three actors mingle and interact without dialogue in a closed space.

The 24 minutes experimental film explores, through acting and the reassemblage of stock footage extracted from film, advertising and theatre plays of the Egyptian sixties, seventies and eighties of the twentieth century, notions of identity and what it is to be Arab, African and Middle Eastern in a post-September 11 world. We are able to navigate in a process of “socio-political revisionism” of the last four decades of regional history, tackling along the way the three Oriental Taboos: sex, politics and religion.

The EMILIE LA REINE FOUNDATION, audio installation, 2015, 54’
No one knows who is Emilie La Reine. The concept on which it is based The Emilie La Reine Foundation is the anonymity. All contributions (artists and composers) are of the order of anonymity.

In this way, free from any previous sentence, only the quality emerges. It’s a critical position on any kind of economy based on factors different from excellent value.

All videos will be mounted on a single track. The music and video will not be tied, there will be a continuous coincidence / randomness between listening to music and the moving image.

The exhibition has the great pleasure to be an Embassy offline of “The Wrong – New Digital Art Biennale(in)Exactitude in Science Pavilion, curated by Filippo Lorenzin and Kamilia Kard”. For this section there will be presented works by Emilie Brout and Maxime Marion, Marco Cadioli, Alka Cappellazzo, Marco Mendeni, Jacques Perconte, Guido Segni, Antoine Schmitt and Fabien Zocco.

Emilie Brout & Maxime Marion
Ghosts of your souvenir is an ongoing collection of found amateur pictures where the main subject becomes secondary when the viewer understands the organizing principle of the collection: the presence, in the background, of Emilie or Maxime (or both), posing for a photographer who’s not interested in them.

Marco Cadioli
Proto (Macpaint Texture) is a video about the concept of “proto”, from Ancient Greek (πρωτο), combination form of πρῶτος (prôtos, “first”), superlative of πρό (pró, “before”) is used to form the name of the hypothetical ancestor of something.

Textures from the original 1984 MacPaint collapse in a dense and evolving mass witch is waiting to explode in a new model. We are no more post “something” – post industrial, post modern, post internet- we are Proto something.

Alka Cappellazzo
IUS BI is a generative pattern designed by Cappellazzo. The code written by the artist becomes the semantic basis that generates, each time different from the previous one, a map.

Guido Segni
A quiet desert failure is in its own way, a monumental piece about internet contents, emptiness, time, storage, memory, oblivion and – ultimately – failure.

Guido Segni programmed an Internet boat to traverse the datascape of Google Maps in order to fill a Tumblr blog and its datacenters with a remapping representation of the whole Sahara Desert, one post a time, every 30 minutes. The whole performance will approximately take 50 years to be completed, but it is still not clear if the audience, the Google’s servers, the tumblr archive or the Internet itself will last enough to see the end.
So, be patient, don’t hurry. The desert is coming.


Marco Mendeni
r_lightTweakSunlight project stems from the research within the videogames brought forward by Marco Mendeni in recent years, giving rise to an environmental path entirely realized with Cryengine3 engine, an advanced software to create videogames. The use of a platform for the creation of virtual worlds has allowed him to develop a parallel reality starting from nothing, populating it freely with textures and extravagant Physics laws, in a search which is about space and shape, thanks to computer use.

Fabien Zocco
[6 E Q U J 5] is an alphanumerical sequence which is known under the name of “WOW! signal”. It is the transcription of a strong radio signal detected on August 15, 1977 at the Big Ear radio telescope of The Ohio State University. This signal was identified as the result of a non-human activity. It appears to have come from the Northwest of the globular cluster of M55, in the constellation Sagittarius, near the Chi Sagittarius star group. Fabien Zocco designed a not that is forwarding this signal to unknown e-mail addresses randomly get on the internet.

Jacques Perconte
Any time that a picture of Isabelle is seen by someone connected to I love you images collections, because of the subject of Perconte, the picture is treated by a love writing program: the image source code is opened and modified. An application calculates a very precise variable number taking in consideration some internet server’s parameters and some user’s connection informations… this number is recalculated on every new request for a picture. Once this number determined the application searches in picture’s source code if this variable is present. If it’s found, it’s replaced by the sentence ‘I love you’: the architecture of the code is disturbed. The web browser needed for the viewing interprets the file and tries to display the picture. But transformations in the source code may modify it and can lead to the apparition of artefacts like; pixelation, distortion, addition of new colours, partial or total reinterpretation of the picture, disappearance of the subject in the picture or even absolute impossibility for the browser to display the picture: apparition of a broken icon… This absurd way of literally writing love in the picture, directly in the source code gives the viewer to see at every new connection a new collection of pictures more or less full of love… the more it’s written in the code; the fewer pictures can be seen.


Antoine Schmitt
The Grand Credits of all human beings: long credits slowly roll on the movie screen, from bottom to top. First name, last name. First name, last name. It is the list of the names of all human beings. Everyone is named, and all names are displayed with the same visual importance. This permanent technological artwork installed on internet uses all possible means to effectively list the names of all human beings. The main one being the contributions of exhibiting structures providing their members list, their visitors list, etc…







michelnagelo-consani(born 1971, Livorno), after participating in various group exhibitions including (Artkliazma, Russia; Schunk Glaspalais, The Netherlands; Musée d’Art Contemporain du Val de Marne, France; Slovenia Center for Contemporary Art, Celje; Cittadellarte – Fondazione Pistoletto, Biella, Italy) in 2010 he received an award as best artist under 40, by EX3 Centre of Contemporary Art in Florence.

In the same year he took part in the Aichi Triennale curated by Akira Tatehata, Masahiko Haito, Hinako Kasagi, Pier Luigi Tazzi and Jochen Volz in Nagoya, Japan. In 2011 he had solo shows at Munich Kunstraum and at CAMeC Pianozero in La Spezia; in 2012 he exhibited at Pecci Museum in Prato and in Milan and at Dakar Biennial.

In 2013 Lissone Museum invited him for a special project in occasion of the museum opening. Recently a new book about the artist has been published by Kunstverein Milan / Amsterdam / New York, it has been presented at PS1 in New York.


Rä di Martino(Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she now moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her works are characterized by a tension between pathos and a certain detachment: a disconnectedness that interrupts the synchronicity binding image and text. Her film, video installations and photos have been shown in many institutions, museums and film festivals including: Moma-PS1, NY; Tate Modern, London; NiMK Netherlands Media Arts, Amsterdam; MCA Chicago; Palazzo Grassi, Venice; Artists Space, New York; the Busan Biennial; Manifesta; the Turin Triennal, Locarno and Torino International Film Festival, Viper Basel and Transmediale Berlin.





Shadyis a contemporary Egyptian artist, born in Damietta
 City (1971). He studied at Helwan University’s Faculty of Art 
Education, graduating in 1994. Ever since, he became a teacher of
 drawing, painting and media arts in the same university and at the visual Arts department in The American University in Cairo. He 
received his PhD in philosophy of art education with a thesis titled 
“Media Arts and Expressing the Cultural Identity of the Contemporary
 Egyptian Society” in 2007 from Helwan University.

Many of his art projects have been very successful and were featured 
in the biggest museums and international exhibitions around the world
 such as museums of contemporary arts (e.g. New York, Stockholm, 
Dusseldorf and Mori Art Museum in Tokyo, Pompidou Center in Paris,
 and Tate Gallery and Hayward Gallery in London. He also work as an 
executive curator for contemporary artist Ahmed Basiony’s art project
 (30 days running in the place) for the Egyptian pavilion in 
International Venice Biennale 2011.

Shady El Noshokaty has also an undeniable role in the field of art
 education in Egypt for the last decade. He has been one of the most 
faithful advocates of the young artists from the new generation. Due to the success of the workshops offered by his 
independent professorship, El Noshokaty in return established a
 foundation in 2010, (ASCII Foundation for Contemporary Art  Education) dedicated to the desire to educate and develop young 
thinkers into new and alternative
 media practices.

amanda km_true selfie_2_lris an Egyptian-American visual artist who uses video, installation, and performance to explore the connections between object and subject.  Throughout her work, she amasses objects, which are deemed invaluable, to mark a particular time or event. She was born in Texas and, in 2005, graduated from the University of Houston with a BFA in Photography and BS in Psychology. In 2013, she earned her MFA from Transart Institute, through the University of Plymouth, UK. Since 2006, she has been based in Cairo, where she teaches part-time. Her current work focuses on the evidence and residue of intimate conversations in Cairo. KM has exhibited internationally in places such as Denmark, Egypt, Germany, Jordan, Portugal, Senegal, and the U.S. In 2014, she received a grant from Arab Fund for Arts and Culture for Filtered Conversations at Round Table.  KM has a natural inclination to collect.  She deliberately keeps the ashtray full; she collects cigarette butts- in a sense, she collects herself.







(b. Catania, 1978) works and lives in Rome. She currently teaches Multimedia Design at the Accademia di Belle Arti in Foggia. Her research centers on 3D animation so to recreate images evoking the facts of everyday life and the passing of time. 3D is a language that allows her to conjure visual paradoxes: what appears routine, safe, and familiar suddenly looks distant, foreign, and uncanny. With the use of complex and sophisticated video animation software, Mariagrazia realistically reproduces scenes where the boundary between reality and fiction appears blurred and immaterial: they are artificial duplicates whose distance from their analogic model generates short-circuits of the vision.

Her works have been exhibited in Italian and international museums like the MACRO in Rome, the Biedermann Museum in Donaueschingen, the Stadtgalerie in Kiel, the MLAC in Rome, Castel Sant’Elmo Museum in Naples, the Art Center of Thessaloniki, the Museo Riso in Palermo, the CIAC in Genazzano. Her works are also in private galleries e no profit institutions like Monitor, Rome; Lithium Project, Naples; Murat 122, Bari; Galleria Passaggi, Pisa; ISCP, New York; HSF, New York; casa Musumeci Greco, Rome; Fondazione Noesi Studio Carrieri, Martina Franca.

Chiara Passamedia artist. Graduated at Fine Arts Academy of Rome; master in new audio-visual mediums at the Faculty of Modern Literature. My artwork combines different media as: internet-art projects, animations and interactive video-installations; digital art in public space as site-specific artworks and video-mapping analyzing changes in

‘liquid space’ through a variety of techniques, technologies and devices – often constructed thru the augmented reality and the virtual reality technologies. Furthermore I design video-sculptures and objects developing also art-applications and widgets for mobile platforms. I use the new technologies in a wide-range production in order to comprise its intrinsic language, experimenting in rigorous and personal way on the unknown creative possibilities that the new media are continuously offering to me.

Resumé with selected exhibition per year:

http://www.chiarapassa.it/SelectedExhibitions.html and full CV/statement: http://www.chiarapassa.it/Artisticprofile.html



Calixto Ramirezwas born in Reynosa (Mexico) in 1980. He graduated in La Esmeralda Art School in 2008, from 2013 lives and works in Rome. All his works are characterized by the economy of means, which does not prevent the Mexican artist to design high-impact interventions, based on the use of their bodies as a measure of things and observation tool in the world. His creative processes are multiple forms: installations, video, performance and photography. He regularly exhibits in numerous galleries and exhibition centers in Europe and Latin America: Memmo Foundation (Rome, 2015); I Galerie (Marseille, 2014); Museo Carrillo Gil Museum and the Palacio de Bellas Artes (Mexico City, 2013-2014); Young Artist Biennial (Monterrey, 2012); Foundation Marcelino Botin (Santander, 2009).

Miguel AndrésResearcher, nihilistic and thoughtful.
He studied advertising and he was an art director for several years in agencies of Madrid and Valencia.

After 2008’s crisis his life changed, as many others, and he started to find my way as an artist. Experimenting with various fields of vi- sual arts to finally arrive to performance and video art. These now are the main focus of my work. Human being and all its inherent things become the backbone of his work. Awareness, behavior, emotions, per- sonality, sexuality, fetishism, ego, re- pression and fear are only few.

Since then he have participated in several ex- hibitions and festivals nationally and interna- tionally, as well as won several prizes and mentions.

More info: miguelandres


Alessandro De francesco, Augmented Writing(Italy, 1981, lives in Basel and Brussels) is a poet, artist and essayist and the founder of the Language Art Studio. His work is presented and exhibited in multiple international contexts. Since 2008 Alessandro is an artist-in-residence and visiting professor at the European Graduate School and he is currently an artistic research fellow at the Research Centre for Visual Poetics at the University of Antwerp. He read, performed or exhibited at venues such the Kelly Writers House at U-Penn, CUNY, the Fondation Louis Vuitton, the Centre Pompidou, the MAMCS in Strasbourg, the STEIM in Amsterdam, the CNEAI in Paris, the Berlin University of the Arts, and elsewhere. Alessandro holds a PhD in Poetics from the University of Paris-Sorbonne. Among his books: Lo spostamento degli oggetti (Verona: Cierre Grafica, 2008), Redéfinition (Paris: MIX., 2010), Ridefinizione (Rome: La Camera Verde, 2011), Augmented Writing (La Camera Verde, 2013), Remote Vision (New York: Punctum Books, upcoming in 2015). Alessandro’s work is represented by Solang Production Paris-Brussels (solang.fr).



Kaheld Hafezborn in Cairo, Egypt in 1963 where he currently lives and works. He studied medicine and followed the evening classes of the Cairo School of Fine Arts (Faculty of Fine Arts) in the eighties. After attaining a medical degree in 1987 and M.Sc. as a medical specialist in 1992, he gave up medical practices in the early nineties for a career in the arts. He later obtained an MFA in new media and digital arts from Transart Institute (New York, USA) and Danube University Krems (Austria). Hafez practice spans the mediums of painting, film / video, photography, installation and interdisciplinary approaches. International group exhibitions include: 56th and 55th Venice Biennale- Italy, 3rd Mardin Biennale – Turkey, 15th Fotofest Biennale – Houston, 11th Havana Biennale, Cuba, 9th Bamako Photo Biennale – Mali, 8th Mercosul Biennale, Brasil, 2011, 12th Cairo Biennale, Egypt, Manifesta 8 – Murcia, Spain, 2nd Thessaloniki Biennale – Greece, 2009 and many others … Hafez works were shown between others  at Uppsala Museum of Art, Sweden, Art Sonje Center, Seoul, British Museum and The New Museum – NY.




An art platform that I found with Sara Alberani e Caterina Pecchioli in 2015. Around the world, more than 51.5 million individuals have either fled their country or are displaced from their homes due to war and violence. If you considered them as a state, they would represent the 25th nation on Earth.  Nation 25 is an imaginative gesture, an art platform that seeks to shine a light on the lives of refugees, migrants and the internally displaced.The mission is to examine critical questions around the desire/necessity of the experience of flight – reasons for departure, the nature of borders, crossing and drift, resilience and imaginative places of safety- and what these aspects activate. Nation25 is the idea of a “nation” whose existence is based on common needs and experiences and opposed to territorial integrity, it’s the conviction that a community displaced in space and time means opportunity not exclusion.

Based between Rome and Brussels, Nation25, is a dynamic art platform for an ongoing dialogue between artists, refugees, curators, humanitarian, activists.


Secondo Stile, Weddingis a Nomadic canvas-based Artist Run Exhibition Space founded in 2013 by Paolo Chiasera, is a painting that is at the same time an exhibition space.

The imaginary is the main aspect of the second style of Roman painting, the Secondo Stile. The imaginary allows the artist to define a new productive meeting place, allowing new modes of collaboration, exploring the boundaries of collaboration through ideas of fluidity, independency and architectural mobility.






Void!Founded in 2013 from Arnaud Eeck- hout (Belgium 1987) and Mauro Vit- turini (Italy 1985), VOID is a visual sound art collective based in Brus- sels.

VOID’s work questions the experi- ence we have with reality through our perception, and the consequences this has on the way we build our knowledge of things. In order to dis- assemble the relation that link mankind with its devices, VOID at- tempt to create short-circuits be- tween personal empirical experiences and the ones culturally imposed. Their visual and sound installations combine the interconnected areas of perception, sound, language and representation.

The distinctive feature of their prac- tice is about focusing on borders and interstices rather than on the subject itself, drawing the outlines in nega- tive. The emptiness, intangible sur- face, shapeless and intentionless, is considered as a space to express re- ality in wilder and more spontaneous conditions. Sound, phenomenon that shares with emptiness the absence of materiality, is then for VOID the key that links visible and invisible, plac- ing their work beyond representa- tion.


Zimmerfreiis an artists’ collective formed by Massimo Carozzi, Anna de Manincor and Anna Rispoli. The collective has two headquarters, one in Brussels and one in Bologna – the city where the group was formed in 2000 – and its artistic practice range from video art to documentary films, sound and environmental installations, as well as photography, performances, workshops and public art projects.

Mixing formal languages, ZimmerFrei produces kaleidoscopic sonic and visual works that investigate real and imaginary urban environments, exploring the boundaries between public spaces and private territory. They had exhibited at Museum Beelden aan Zee,  Den Haag (NL), Wiels, Bruxelles, Museo Man, at Italian Cultural Institute, New York for Gotham Prize, Museo MARCO, Vigo (Spain), Nuoro, Fokus Museum, Innsbruck (AT) and over.






ROBERT CAHENRecognized as one of France’s foremost video artists, Robert Cahen has since 1972 produced a distinguished body of work for cinema and television. In Cahen’s uniquely nuanced world, fiction and document alike are presented as metaphoric voyages of the imaginary, exquisite reveries that describe passages of time, place, memory and perception. Genres such as narrative and performance are expanded and transformed as he explores visual, aural and temporal transformations of represented reality.

From the formal elegance of Cartes postales vidéo (Video Postcards) (1984-86) to the intricate musical and visual transitions of Boulez-Répons (1985), Cahen’s work is characterized by a sophisticated application of electronic techniques that manipulate sound and image, space and temporality, resulting in subtle transmutations of the illusory and the real. Building on his extensive research in acoustics, music, and filmmaking, he plays with the textures of sound and image to restructure representational modes, from the optical to the sonic, from the “picturesque” photograph to the conventions of narrative cinema. Resonating with wit and charm, executed with technical precision, his works allude to both formal and thematic motifs of travel, movement, and transition. Cahen’s dreamlike journeys depict fleeting glimpses of a transitory reality, transformed in time within the pictorial frame.


Émilie Brout & Maxime MarionEmilie Brout & Maxime Marion are graduates of Higher Schools of Art of Nancy and Aix-en-Provence. From 2007, they integrate together various laboratories such as EnsadLab, where they began their collaboration. Today they are primarily concerned with issues related to new media, the new forms that they allow and the consequences they entail on our perception and behavior. Their work is particularly focused on the confrontation of analogic specifics (feeling of reality, past recording) to those of the numerical discretization (diversion and reconstruction of information, immediacy of interaction). They seek both to make traditional media dynamic, and conversely, to synthesize, through narrative devices, heterogeneous information from databases they collect on the web.

Their work has in particular received support from the François Schneider Foundation, FRAC – Collection Aquitaine, CNC/DICRéAM and SCAM. They were exhibited in France and Europe, in places such as the Centquatre in Paris, the Vasarely Foundation in Aix-en-Provence, the Solo Project Art Fair in Basel or the Centre pour l’Image Contemporaine in Geneva, and are represented by the 22,48 m² gallery in Paris.

Emilie Brout & Maxime Marion live and work in Vincennes, France.




Marco CadioliAn artist who points his lens at the images that materialize on computer screens, blurring the boundaries between real and virtual. With his online journeys he explores from an aesthetic point of view the new frontiers of digital media and virtual worlds.

He entered the multiuser war game as an “embedded” photographer, like a modern day Rober Capa, and with his avatar Marco Manray he published photos from Second Life on international magazines. With recent work presents a research on the representation of the real world and the world of data within Google Earth, playing with the forms of representation to completely change maps and functions of globe.

He exhibited at Neoludica. Art is a game 2011-1966 (54a Biennale di Venezia 2011), BYOB (Padiglione Internet, Venezia 2011), AFK (Casino Luxembourg – 2011), Fotografia Festival (Roma, Macro Testaccio 2010), Odyssey art+performance sim in Second Life (2009), Reality Festival (Paris 2008), PEAM Pescara Electronic Artists Meeting (2006).

Teaches at the Accademia di Belle Arti SantaGiulia of Brescia, and the Accademia di Comunicazione of Milan. Lives and works in Milan.



Alka CappellazzoAlka Cappellazzo graduated in New Technolgies for Art at Brera Academy, Milano. She started her studies using 3D language, with 3D modeling software. In the last year focused in creative coding, her artworks are closely related to the code. Programming allows her to experiment directly with algorithms and functions. In her works the code is always visibile , the computer contributed to the final result, for her is useful know the programming language.
Do you see a pattern here characterized her research, some patterns, generated completely by the code, are now interior graphics in Rackspace Open Cloud Academy, San Antonio, Texas.









Guido SegniMainly focused on the daily (ab) use of Internet, his work is characterized by minimal gestures on technology which combine conceptual aproaches with a traditional hacker attitude in making things odd, useless and dysfunctional.

In quite recent years he moved from an identity to another producing works, actions and interventions under pseudonyms, collectives and multiple names (Dedalus, Clemente Pestelli, Guy McMusker, Angela Merelli, Anna Adamolo, Guy The Bore, Umberto Stanca,Silvie Inb, Fosco Loiti Celant, Guru Miri Goro, Leslie Bleus, Luther Blissett).

Co-founder of Les Liens Invisibles , he exhibited in galleries, museums (MAXXI Rome, New School of New York, KUMU Art Museum of Talinn) and art & media-art international festivals (International Venice Biennale, Piemonte SHARE Festival, Transmediale).

Currently he teaches at the Accademia di Belle Arti of Carrara, directs the imaginary REFRAMED lab and he is part of the editorial committee for the project Atypo.




Marco MendeniMarco Mendeni develops an advanced research for which he uses the videogame as an expressive medium to start a critical reflection among real and digital, simulation and dissimulation. Virtuality and reality, presence and absence, tradition and innovation apparently are some of the antinomy couples on which the work of Mendeni is based. The virtually real world of the videogame loses its artificial character of playable simulation and becomes a middle ground to be explored and to be revealed through different media. Marco Mendeni’s artworks approach and weave the unsubstantial digital constructions of the videogames with the physical medium and places that gather them. This dichotomy becomes vector of their potential of meaning.






Antoine SchmittInstallation artist, Antoine Schmitt creates artworks in the form of objects, installations and situations to address the processes of movement in all of their modalities, and question their intrinsic conceptual problematics, of plastic, philosophical or social nature. Heir of kinetic art and cybernetic art, nourished by metaphysical science-fiction, he endlessly interrogates the dynamic interactions between human nature and the nature of reality. Originally programming engineer in human computer relations and artificial intelligence, he places the program, a contemporary artistic material and unique by its active quality, at the core of most of his artworks, to reveal and literally manipulate the forces at stake. Antoine Schmitt, alone or through collaborations, has undertaken an articulation of this approach with more established artistic fields like music, dance, architecture, literature or cinema. As theoretician, speaker and editor of the gratin.org portal, Antoine Schmitt explores the field of programmed art. His work has received several awards in international festivals.



Jacques Perconte (Photo taken by Remy Deluze)Jacques Perconte lives and works in Paris. He is well known as one of the pioneers of French internet art He is among the first artists to have worked on compression codecs. Jacques made his debuts with internet and video art. His first films date back from 1995 and his first internet artworks from 1996. The website technart.net is the core of his work, showcasing all his activities (notes, articles, performances… the web is endless). He frequently works with other artists, including Michel Herreria (painter), Didier Arnaudet (poet), Marc Em (musician), Hugo Verlinde (film maker), Léos Carax dans Holy Motors, Jean-Benoit Dunckel, Julie Rousse, Eddie Ladoire, Simonluca Laitempergher, Hélène Breschand, Jean-Jacques Birgé, Vincent Segal, Antonin-Tri Huang et Jeff Mills. Even though his works become less and less theoretical, the relation between form and substance remains crucial. Jacques Perconte works on the forms of fiction on various medias as well as a formal research, focused on the body and the landscape.




Matias Guerra

Born 1973 in Santiago, Chile. Has lived in Quito, London and Rome, resident in Milan. He is a visual artist also deeply interested in electronic music ad improvisation, playing guitar as main instrument.

Involved since 1990 as promoter and in the realization of cultural projects, has collaborated with many associations and individuals, always prioritizing collective and self-sustained work.





The Emilie La Reine FoundationArt foundation based on anonimity, free from any previous judgment, only quality emerges.