Archives, Traces, Sounds, Images.
Exhibitions and Performative Installations for Liminaria MMXXIV micro-festival Cultural Geologies Substantiae Motus II – Cultural Geologies – July 2024
During summer 2024, I developed a cycle of exhibitions and performative installations within the framework of Liminaria – Cultural Geologies. These works respond to the urgency of archiving gestures, matter, voices, and ruins in the Vesuvian territories—places where the present always speaks through fragments of the future and the past.
This year’s program allowed me to pursue a series of site-specific experiments in which images become sediments, sounds become archival gestures, and objects return as narrative triggers. What follows is a short field report from this layered process.
Eject-a/1 and Eject-a/2
At Pu-téca Tramandars in Somma Vesuviana and Spazio Amira in Nola, the Ejecta cycle took shape. I worked with serigraphy, etching, volcanic stones, collected fragments, and printed matter—installing them as stratified displays of interrupted narratives.
The project was conceived as a reflection on the migration of forms, and on how lapilli—those small, explosive stones—can become both material and metaphor.
Photography as Field Recording
Broadcast during the Ejecta-1 closing, this piece—composed by COB (1994)—translates my writing into a sound essay. I ask: Can photography act as field recording? Can we measure a territory through its noise, its frequencies, its silences?
Signal from Noise
With contributions from Rumoremuto and Phil St. George, I created two sound installations:
• Signal from Noise / Lavami col Fuoco (Cortile da Nando, Somma Vesuviana)
A participatory sound performance built on amplified lapilli and field recordings.
• Signal from Noise / Signal from Noise (Spazio Amira, Nola)
A tape-based live composition: lapilli, fragments, cassette players, and analog signal loops.
Everything converges into the ongoing research project Ius Soli – Campania Felix Delenda Est, an evolving archive of the Vesuvian Red Zone—its architecture, its vulnerabilities, its gestures, its sounds.
At an ex-Communist club in San Martino Valle Caudina, I reactivated an archive of my own youth—lived in the Vesuvian hinterland between 1996 and 2001.
The work consists of risograph prints, maps, photographs, slides, and manual transfers: a sediment of things that were once visible, now returned in powder, ink, and memory.
This performance emerged as a live mashup—an attempt to answer Dust of Days with sound.
Fragments of TV ads, political speeches, architecture students’ voices, and audio interviews became the matter of a new sonic archive.
Assenti Assenti is a call to those who were there but somehow absent—displaced in time, in history, in sound.
Capsule Collection
With Tramandars, I created a small collection of handmade prints using lapilli dust, discarded paper, and a child’s silkscreen frame. These works are not editions. They are echoes—material leftovers of a process, intimate, imperfect, and tactile.
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