Monument to Thomas Hirschhorn Oof Gallery


Monument to Thomas Hirschhorn Chapter one. La sciarpata.Three documentary pieces, three commentaries on art, three commentaries on ultras aesthetics. Three scarves.

Press Pack 

Since I am an image maker always trying to understand the nature of images as well as why and how images are art, Thomas Hirschhorn works and texts have always been to me moments of revelation. During years, I have been collecting his printed paratexts at his exhibitions, as documentary pieces, as artworks, as essays, de facto, building up an informal home monument but also an hand made tool helping me in the everyday effort of living and surviving as an artist, in other words, to process the idea of doing art.

Taking advantage of the Football scarf group show at Oof Gallery – the football scarf being the monument to a fandom – I wrote the first chapter of a monument to T. H. Using three of my favourites quotes : No technical skills, Moments of grace, Energy: Yes! Quality: no! They open up, to me, in the most synthetic way, an enormous range of observations and thoughts on my personal art practice, on art itself, and, last but not least, on football supporters aesthetics, peculiarly on Ultras world. 

I invited Emanuele Meschini and Luca Resta from Autopalo to share a moment of grace and to build up our very first collaboration. 

We decide to proceed on very peculiar way of doing, rewriting existing scarves, adopting a classic Ultras strategy: the less expensive, the quickest. Every single original scarf, which is by itself a documentary piece related to our personal story, has been hacked to turn it in a new scarf. Pieces of a monument to T. H. as a sciarpata

Giovanni Ambrosio


Monument to Thomas Hirschhorn



Oof Gallery

Warmington House, N17. London.

from 4 November until 26 February 2023 

open Thu-Sat 10-5, Sun 11-4, Mon 10-5, closed Tue & Wed. 

Mark Titchner solo exhibition 

& The Art of the Football Scarf group show

Exhibitions opening at OOF Gallery

Thu, 3 November 2022, 18:00 – 20:30 GMT 

Ultras Youth in Universo Giovane

Dal 6 all’8 ottobre 2022 in occasione dell’evento ‘La Lombardia è dei giovani’, promosso da Regione Lombardia, il Museo presenta la mostra UNIVERSO GIOVANE
con fotografie di 10 importanti autori provenienti dalle collezioni: Giovanni Ambrosio, Antonio Biasiucci, Gabriele Basilico, Mario Cattaneo, Tomaso Clavarino, Rachele Maistrello, Claudio Majorana, Tommaso Mori, Claude Nori, Marco Signorini.
La rassegna, allestita al 39° piano di Palazzo Lombardia a Milano, esplora il complesso e sfuggente universo della condizione giovanile attraverso una selezione di oltre 60 opere originali dalla metà degli anni Sessanta, quando la questione giovanile emerge con forza nella società italiana, fino ai giorni più recenti. Scopri di più su
Fotografie dalle collezioni del Museo di Fotografia Contemporanea
6-8 ottobre 2022
Milano, Palazzo Lombardia – Belvedere 39° piano

Ultras Youth Museo di Fotografia Contemporanea


Ultras Youth is now part of Mufoco collection.

A portfolio of 14 fine art prints by Fineart Lab Napoli has been delivered to the museum.

The Museum of Contemporary Photography had previously presented 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. An articulated exhibition project getting underway with the start of the European Football Championship and featuring Ultras Youth : Movimenti, densità, stratagemmi, posizioni: an installation  made of ink-jet prints and vinyl printing (about 40 photographs), two iPad showcasing digital pictures, stickers, one original ultras banner, one stencil, two videos, one audio footage and various ultras objects over two walls, two tables and the stained glass window at Museo Fotografia Contemporanea first floor. This site specific production  was  based on a translation of ultras supporters cultures into some documentary points of view: movements, density, archives, ploys, positions. And, of course inherently, youth. With the support of Fondazione Nuovi Mecenati.


Ultras Youth is part fo my documentary based photography works and I usually archive them under the label Argumenta (from Latin arguere, to prove), opening a wide range of ideas related to the uncertainty of depiction: archive as score, re-writing, readable/unreadable, fragments, representation as a temporary act, representation as a translation.


Ultras Youth Manifesto

  1. Since the willing to depict a phenomenon is just not enough, Ultras Youth is primarily a research based photography collection. The research project is led by historian Sébastien Louis, whose presence defines a stable investigation field, never under the pressure of personal or intimate needs to depict a phenomenon. The alliance of scientific research and aesthetic practices design a wider project whose goal is the understanding of a culture.
  2. Ultras Youth is a challenging work in terms of photography positions and in terms of ecology of images: which would be the right image able to investigate topics without putting a colonial and naif gaze ?
  3. Ultras Youth offers the opportunity to build up a small as well as a modest and temporary cartography, on the edge of classic iconography, of a youth movement constantly expanding from the Mediterranean area and mutating according to the countries and cities in which it establishes its roots.
  4. Ultras movement does not need any kind of monument, being itself a constant producer of monuments. But it might sometimes require the presence of photography as a tool to keep track of events and actions, in order to minimise the emotional waste due to ephemeral performances. 
  5. My main interest focuses on operations : aesthetic, ethic and political operations.
  6. Assuming that a movement finds its vis existendi in the effort released to be part of the movement itself, to observe the breaking points of orthodoxy is a leading criteria. I am mainly attracted by the ways in which Ultras go out of designed spaces (the curva and its masculine density is, by definition, Ultras primary space), when they put themselves in danger in regard to they own ideology, when they fall into contradiction during the identity definition process.
  7. Since the curva is the space assigned for ultras groups staged shows (usually defined by classic terms choreography and scenography), how can we define Ultras’ performativity? 
  8. Notes for a taxonomy of Ultras movement: movimenti, migrazioni, stratagemmi, posizioni, archivi. Michel de Certeau arts de faire: to walk, to collect, to show, to hide, to believe.

Prophecies and pronouncements in Sibyl Sessions


Prophecies and pronouncements in Sibyl Sessions. Following Medea’s Visions and Oreste will be back, the Kulturscio’k Live Art Collective is bringing Sibyl Sessions to Parco Archeologico di Cuma, Festival Antro. The final work in a trilogy of contemporary, socially-commentating adaptations from Greek mythology, is a mixed media exploration of womanhood and time, mingling a romantic nostalgia for the past with dystopian omens for the future. More than performance, it incorporates film, photography, projections, and live music to create a distinctly unique aural and visual experience. Director and performer Alessia Siniscalchi orchestrates Sibyl Sessions with a team of talented artists, among them musician Phil St. George, visual artist Giovanni Ambrosio, and lighting designer Benjamin Sillon whose projector-helmet adds a new dimension of symbolic beauty to the piece. Radical technological inventions, exacerbated and extreme, become a pretext to tell the present, the past, and the future–the story of the oracle.

Giovanni Ambrosio features a four parts installation handled by Benjamin, the text based work Prophecies and pronouncements

Prophecies and pronouncements in Sibyl Sessions

Prophecies and pronouncements in Sibyl Sessions


Questa è una rovina. Fateci caso.


A public paper based artwork in Streetcart, a group show curated by O’vascio Room Gallery. From July 27th 2022 until natural destruction.

The site specific installation is based on an urban ruin in the city of Somma Vesuviana, in Campania, in the Vesuvio area: an old telephone booth pedestal. The work is an essay on the remains of a wired based past in our public space, in a society of connectivity. It has been built with loose papers, remaining from a past printmaking residency as well as ruins of essay prints from aquatint, which is itself a precess based on acid corruption of zinc plates.

The installation catalogue: Questa è una rovina. Fateci caso.

Prophecies and pronouncements in Sibyl Sessions

Exhibitions, Residencies, talks, works in progress

Prophecies and pronouncements in Sibyl Sessions by  Kulturscio’k live art collective at Museo della Moda di Napoli.

Open dress rehearsals Thu Jun 30th, Fri July 1st, Sun July 3rd 2022

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 first chapter, Out of date prophecies, I re-use and slightly re-write letters from CEOS and general marketing texts stating how important is, after George Floyd death, to promote human rights and to prevent injustice.
In the second chapter, following the flow of guru’s, handcrafted experts, theorists with any scientific culture which are now populating our connectivity based society, I offer mundane and non sibylline pronouncements: Killing kills.

The third chapter is a series of anxiolytic prophecies coming form my work Submit!, analysing the marketing literature aiming to intercept a huge reservoir of potential buyers: artists. They all want to emerge and they are ready to pay for any possibility to be seen by millions. A massive copywrited literature, sent by newsletters, constantly counts the time left before calls for proposal expire. A pressure on time shaped by countdowns and reductions for early birds. That is translated by a compulsive behavior for artists, filling forms, answering to calls, writing cover letters. Artists turns in chain workers as well as they are part of a market in which they can buy their possible marketing tools.

Documenting the ultras movement

Exhibitions, Residencies, talks, works in progress

Football fans, their behaviours, culture and history, have been the subject of analysis for decades. However, specific studies of the ultras movement, the youth culture that over the past fifty years has spread over the world, well beyond its origins in Italy, are relatively few.

Photographer Giovanni Ambrosio and filmmaker Ragnhild Ekner have both been involved in creating the exhibition Ultra at the Mediterranean Museum. They tell about and show examples from their ongoing work to document the ultras movement in different parts of the world. Together with you in the audience, we discuss what it means to photograph, film, and document a subculture such as the ultras movement? What problems arise, what considerations must be taken into account? And why is it important?

The Italian photographer and writer Giovanni Ambrosio has for many years worked with the historian Sèbastien Louis to document ultras groups in Europe, North Africa and Asia.

Director Ragnhild Ekner is currently working on the documentary film ULTRAS, about ultra groups in several countries around the world, which will premiere in the spring of 2024. The film is a co-production between Story, Film i Väst and SVT.

Moderator: Karl-Johan Cottman, Exhibition Producer at the National Museums of World Culture



Promoted and produced by Vesuvio Adventures


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, walks and mountain’s (that’s how we call the Somma–Vesuvius volcanic complex) views.

Giovanni Ambrosio


15 aprile 2022  20:30

Live performance 

Julia Liedel 

The insecurity of the way of being

16 aprile 2022  16:00

Innesti, interruzioni, intrecci

Camminata nel centro 

storico di Ottaviano 

con Progetto Fiori

Corte al Vico II San Michele 

(piazza San Michele),

 Ottaviano (Na). 

15 aprile dalle 19:30. 

16 aprile dalle 14:00 alle 22:30

Ultra. Football and politics


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


Ultras Youth at Mufoco Milano


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 Sébastien Louis, Autopalo/Gli Impresari, Davide Baldrati, Olivo Barbieri, Gabriele Basilico, Walter Battistessa, Ruth Beraha, Gianni Berengo Gardin, Mario Cattaneo, Giovanni Chiaramonte, Cesare Colombo, The Cool Couple, Mario Cresci, Matteo de Mayda, Emilio Deodato, Paola Di Bello, Vittore Fossati, Federico Garolla, Carlo Garzia, Ando Gilardi, Giulia Iacolutti, Giuseppe Iannello, Mimmo Jodice, Martino Marangoni, Paola Pagliuca, Piero Pozzi, Marco Previdi, Daniele Segre, Hans van der Meer, AS Velasca, Fulvio Ventura, Manfred Willmann.

The extensive programme of events connected to this exhibition has been made possible thanks to the tireless collaboration of numerous Italian and international institutions and organizations from among which we can mention MUCEM Marseille; Fondazione Nuovi Mecenati; Institut Français Milan; Comune di Cinisello Balsamo; B-R-U-N-O Venezia; Codici Ricerca Sociale Milano; Associazione Culturale Antermoia (Trento); Brera F.C. Milano


Museo di Fotografia Contemporanea
Via Frova 10, Cinisello Balsamo – Milano

Wednesday, Thursday, Friday, 4 – 7 pm
Saturday, Sunday, 10 am – 7 pm
Free admission –


Cover picture
Giovanni Ambrosio, Ultras Youth, 2016-2021