Promoted and produced by Vesuvio Adventures CORTE VICO II SAN MICHELE  Pdf document introducing the exhibition Dialoghi, rigenerazione, comunità,  pietre, sfregamenti, catastrofi e archivi. Site specific installation of Ius Soli. Campania Felix delenda est. Chapter 1: waiting, passing, redempting. The courtyard as a dialogue space.  The courtyard  as a documentary piece.  The courtyard as a fibre.  The courtyard as architecture pavilion. I started working on a possible archive for a depiction of Vesuvio’s Red Zone in 2018, and over the years, while producing installations and exhibitions, I came across so many artists building up, in their own peculiar way, a relationship with Vesuvio’s aesthetics. Those encounters, sometimes literally walks and hikes, those conversations, have been producing modifications in my archive, on a conceptual and physical level. A re-shaping reminding me Vesuvio’s central structure, seeming to be there from the beginning of times, surrounded by this series of changes, sometimes radical, we usually call eruptions. So, the CORTE VICO II SAN MICHELE – a real private courtyard in Ottaviano’ historical center –  offers me a space to process both my archive and my Vesuvio encounters. And especially the constant meeting and dialogue whit the association Vesuvio Adventures itself, based on conversations, projects,…

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I’m screening a selection of my landscape and space related works in Ossessione Napoletana, a multimedia show connecting the narratives of Napoli and Lisboa, cities of songs, literatures, images and obsessions. And, incidentally, two of my cities. How do you look at a city? How can we represent a city in pictures? It’s almost impossible. – New living districts -Spatial disorientation -Something in the way she moves attracts me like no other lover -Biographies/thresholds -Football landscapes @fondogioia @mdmpelomundo Written by Mauro Gioia @fondogioia and Maria De Medeiros @mdmpelomundo, directed by Maria De Medeiros. With pianist @burgarellag April 8th-10th Trianon Viviani – teatro della Canzone napoletana

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Mauro Gioia’s Conferenze cantate visual set includes this young dead bride, the young absent bride, the young murdered bride. It’s the key image in the visual set for Alpha singers in Neapolitan song, the last Conferenza Cantata at Auditorium Parco della Musica @auditoriumparcodellamusica in Rome and at Teatro Trianon Viviani @teatrotrianon in Naples, written by Giuditta Borelli, Mauro Gioia himself @fondogioia, Antonio Pascale @atpascale66 and Anita Pesce, in which Mauro Gioia tells about a peculiar story inside history of Neapolitan song, related to toxic relationship with love, relationships between men and women, gender violence, gender domination. It’s a documentary photograph picturing one of the most impressive archives I have ever seen: my mother’s trunk containing her pre wedding dowry. While it is still untouched and possibly never opened before, extracting one piece gave me the image of a long running violence related to cultural tradition, family education, ideologic positions. Of a low-fi lifetime impossible to depict violence, in which blood rains into wine in an invisible transparency, in which acceptance itself of invisible yet powerful violence build up an ineluctable structure of your own life. Also combined with the idea of poorly sexually and emotionally educated males as part of…

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Just released a new up to date version of Dust of days digital book. The digital book is one possible state of this series of photographs. they actually embody on a mix of digital printing on fine arts papers, rizography prints and and handmade rizo transfer.

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A selection of Ultras Youth with @sebastienlouiswriter is now on show at Museum of Mediterranean and Near Eastern Antiquities of Stockholm @medelhavsmuseet in a brilliantly curated exhibition on #football and #politics, among brilliant installations by researchers and image makers. Starting from the collection We need no education (North Africa and Asia), the installation tells about strategies and ploys of ultras groupes to stay afloat in their societies: I can’t breathe, I do want to breathe, I try to breathe, how do I breathe? Ultras groups as a destituent power? It is clear enough that ultras are not a classic political subject, no category seems to be appropriate to define their way to stay afloat in their societies. They are not feminist, not right wing, not left wing, not extra parliament, they are not anarchist, they are not libertarian, they are not progressive, but certainly one cannot say they are reactionary. They are just ultras. And no one can deny their ability to get into the public scene. The installation is based on light boxes and framed pictures, with videos and original objects.   Press : Medelhavsmuseet visar intressant utställning om fotbollskultu  

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I’m currently and proudly a resident at Frans Masereel Centrum in Belgium, working on the migration from digital matter to printed matter and from minimal gestural painting to digital files and again to paper. The Frans Masereel Centrum is a center for contemporary art, combining an artist-oriented exhibition and production schedule with an international residency programme for artists and curators, often with a specific focus on printed matter-at-large. I’m working to a new series,  Sumbit!,  which also includes texts already written for Sibyl Session performance.

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WHO DOESN’T JUMP UP! Football. Culture. Identity curated by Matteo Balduzzi 12 June – 24 October 2021 Museo di Fotografia Contemporanea   The Museum of Contemporary Photography is presenting the group exhibition titled Who doesn’t jump up! Football, Culture. Identity, curated by Matteo Balduzzi, which is a reflection treating the game of football as an expression of both individual and group identity. This is an articulated exhibition project that gets underway with the start of the European Football Championship and which is open to the public in the rooms of the Museum in Cinisello Balsamo (Milan) from Saturday 12 June until Sunday 24 October 2021. The exhibition investigates the role of football in Italian culture with the presentation of images forming a panorama of the sport’s presence in society, the landscape, the memory and the culture of Italy. The protagonists of the exhibition are the works of more than thirty artists of different generations, disciplines and languages – videos, photographs and installations – presented in a dialogue with the collections of the Museum: some recent artistic productions, collections of images of an anthropological nature and participating projects. The artists selected are the following: Andrea Abati, Giampietro Agostini, Giovanni Ambrosio e…

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Oreste will be back Oreste will be back: five chapters compose a performance/installation mixing video, art, music, dance, theatre. By Kulturscio’k live art collective. Since the beginning of my collaboration with Alessia Siniscalchi, I am almost never out of the stage space. In OWB I go in with a documentary based work, Ius Soli. Orestes’ creation by Alessia Siniscalchi includes a process of rewriting my work, in its materiality and in its meaning. Orestes also obeys the law of the earth (ius soli). In December 2020 I introduced two painted works from the Opus incertum series, the healing process: my journal painted directly on the wall. Printed on fabrics, those images act as a blanket / cloak / flag / liquid image. These works summarize, in their creation process and in their materials, other topics that emerge from Oreste’s research: salvation, care, change, creation. On the other hand, the documentary photography of the performance also becomes a performative act in the vibration of the creation that it is supposed to represent. It adds, once again, stratification and archeology to the matter of the scenic creation. Paris, Nuit Blanche, October 2nd 2021 Napoli, Museo della moda, June 2021

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The Sibyl Sessions project (working title) is an on going work by Alessia Siniscalchi and her collective Kulturscio’k. The tragedy, the myth, the oracles, the prophets. A theater where the text is reduced, summarized, destroyed, to take advantage of the creations where image, sound, effects, art, radical technological inventions, exacerbated and extreme, become a pretext to tell the present, the past, the future. Or to glimpse what we don’t want to know about the human condition. Sibyl oracle prophet? In this work, started on the basis of a collective residency in a theatre in Paris during the first week of March 2021, I write prophecies, responses and pronouncement as Instagram Stories. Beyond the artists working with Kulturscio’k on a regular basis, I invited to join german artist Julia Liedel to interact with my writing. All pictures : © Roberto Di Mola.

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