Arroz con pollo issue n. 2 : Prophecies and pronouncements is a three chapters series of texts screened and played by performers inside Sibyl Sessions, third step of a trilogy on myths directed by Alessia Siniscalchi: the distant memory of a red/green past imprinted with super 8 film and acridly sweet images from 1960’s Hollywood. A digital, Whatsapp present where human contact is still possible, where live stories proliferate over social networks. A completely virtual, dystopian future where we are prisoners of a technological helmet, self-obsession and individualism, disrupting everything we try to remember about ourselves. 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 pronouncements as Instagram Stories.I invited to join german artist Julia Liedel to interact with my writing. 3 writing sections : 1. Paranoid anxiolytic prophecies making you see the future is approaching. Part of a work called : Submit! Why artists are poor? 2. Out of date prophecies. Corporate late prophecies to make you understand that the revolution we were not expecting for is actually something we really looked forward to. 3. Mundane non sibylline pronouncements.

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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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Stage photography is a pioneer species, going from a soil to another, obeying to other laws, claiming other rights. Stage photography as performative act + collective path planning + field recording. Gestures producing photos are influenced by the space composition: live music, other bodies, field sounds, voices and speeches, performed lights, architectures, objects, trees, plants, soils. This is a photo book relating Oreste will be backcreation residency at Kulturfactory contemporary international residency, December 2020. Based on a pretty uncommon procedure in photographs: we have been freed from the need to be ourselves and our pictures (Giovanni Ambrosio, Imma Di Lillo) are no more our pictures. You can shift from a cinematic approach to more iconic views: that’s probably the only documentary value of our pictures vis-à-vis OWB.  Giovanni Ambrosio

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