Exhibitions

Artifashion Intellighenzia - The Virtual Journey of the Mask ^{Solo Show}

Venue: Studio Brera, Milan (Italy)

Thursday 6 February - Sunday 9 February 2025

Art + Fashion + Tattoo

“Vintage Luxury Vintage” shopping with Aperitivo, organized by Martina Pianara in collaboration with Myam Mehndi and the ARTOLDO collective featuring film directors and multimedia artists Sara Ferro and Chris Weil. They invite you to join a very special happening within and in between tattoos, fashion, and art, where an original dress by Valentino kisses the Virtual Reality “After Life” collection—created in memory of British fashion designer Lee Alexander McQueen by ARTOLDO—in their immersive art installation “Artifashion Intelligenzia – The Virtual Journey of the Mask” presented by the Dress Code Film Festival.

The power of artificial intelligence and voice cloning welcomes special guests, including none other than David Bowie, Kanye West, Lady Gaga, Isabella Blow, Sarah Burton, and Seán McGirr, accompanied by a virtual portrait of the American photographer Joel-Peter Witkin, who may be seen as the father of the mask and a source of inspiration for music video directors Mark Romanek and Floria Sigismondi.

Enter The Virtual Journey of the Mask, unlock hidden content, and unveil the last secrets of McQueen. Join the Meet and Greet with aperitivo, autographs, and a live show. Discover luxury vintage clothes in reality and get lost in VR, while pondering: Maybe I should get my first tattoo today?

Explore the academic research of ARTOLDO, addressing the most important question ever posed in human history: Is fashion art?

Become a digital pioneer and dive into the intricate virtual reality created by Sara Ferro and Chris Weil—two artists who, for the first time, have combined artificial intelligence, 3D modeling, moving image arts, video art, and VR in a way you have never experienced before.

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NoWeapon.World ^{Group Show}

Venue: Emergency, Venice-Giudecca (Italy)

Biennale - Le Latitudini dell’Arte: MOSAIC ON PAPER – Display ^{Group Show}

Venue: University Library of Genoa (Italy)

Ces Gens Là ^{Group Show}

Venue: Galerie AVM, Montmartre - Paris (France)

Thursday 25 July - Sunday 11 August 2024

The challenge ATB sets for itself is to move beyond outdated theoretical and conceptual boundaries by combining various worlds, which are often considered separate - at least in the West - into a single, hybrid, and all-encompassing experience, towards a "New Deal" that has already been explored by Pasolini or Isgrò.

Curators: Alessandro Allocco, Isabelle Russo | Featured Artists: ARTOLDO - Sara Ferro & Chris Weil, Mariella Bogliacino, Ahmad Barho, Samuel Dossi, Marta DeLorenzis, Faé A. Djéraba, Ahmed Elsharif, Maria Erovereti, Hatim Ghanin, Eroverety, Arezki Larbi, Maurizio Limongelli, Miloudi Nouiga, Fernando Montà, Lucia Orlando, Mohamed Otaybi, Sauar, Rosa Sorda, Edoardo Vaira, Marta Valls, Kamel Yahiaoui, Islam Zain Albdeen.

ATB Associazione Culturale, in collaboration with Rivarts of Paris, presents the contemporary art exhibition "Ces Gents la" at the Galerie AVM in Montmartre. This inaugural event will take place across two venues in Paris and Turin and will showcase artists from all regions of Italy, as well as artists whose works are part of the “GliExta” art collection, curated by Isabelle Russo over the course of twenty years.

The exhibition is conceived as part of the #PoemArteLitteram project, an expression of the Association’s activities for the exhibition and cultural season dedicated to visual and performing arts as a universal language that transcends barriers, in relation to poetry and literature, which are instead expressions of individual cultural experiments.

ATB’s challenge is to move beyond outdated theoretical and conceptual boundaries by combining various worlds, which are often considered separate—at least in the West—into a single, hybrid, and all- encompassing experience, towards a "New Deal" already explored by Pasolini or Isgrò, aimed at fueling the inexhaustible contemporary artistic creativity with the pure essence of graphic sign.

The timing (between July and August 2024) and the location (Paris) were deliberately chosen, as the world will be focused on the 33rd edition of the modern Olympic Games hosted in Paris. ATB, Rivarts, and AVM aim to connect one of the most anticipated sporting events, featuring the world’s top athletes in their respective disciplines, with the world of art.

But this is not the first time such an endeavor has been attempted. In fact, few know that in ancient Greece, the birthplace of the Games, art and sport went hand in hand (participants had to excel not only in sports but also in dancing, playing music, and philosophy), forming a perfect combination to achieve harmony by training both body and mind. Similarly, the modern games envisioned by De Coubertin included a strong connection between athletes, artists, and spectators in a quest for original beauty. At the 1924 Olympics in Paris, 193 artists participated (including three Soviets, despite the Soviet Union not officially taking part in the Games), judged by a jury that included the first woman to receive the Nobel Prize for Literature, Swedish writer Selma Lagerlöf, and the famous Russian composer Igor Stravinsky.

The works of Italian artists will be displayed alongside creations by artists from Morocco, Algeria, Tunisia, as well as Sudan and Syria, countries heavily affected by wars, some of which are part of the “GliExtra” collection. In the spirit of the early Olympics and those of 1924, the artworks do not focus on sports themes but on unity despite diversity in styles, social contexts, cultures, and origins. This is particularly important in a historical moment dominated by opposition, discord, and rivalry, as it shows that sports, art, and culture open minds and unite societies beyond differences, contrasting expressive, stylistic, and philosophical modalities, transcending hatred and borders.

This exhibition is just the first stage of a series of events between Turin and Paris that ATB Associazione Culturale plans to carry forward in collaboration with Isabelle Russo, creator of the contemporary art collection “GliExta.” A new exhibition is scheduled in Turin in November 2024, during Contemporary Art Week. During that week, the Piedmontese capital will be a European cultural hub with numerous artistic events and exhibitions, including Artissima, the main contemporary art fair in Italy.

This initiative opens a page to the world in places where the world will be present: Paris and Turin, celebrating diversity, because tomorrow’s art will no longer be created according to Western market criteria but with multicultural standards that will allow everyone to appreciate the qualities of artistic and literary creations beyond differences and borders.

Video Poetry №1 Video Poetry №2 Video Poetry №3 Video Poetry №4 Video Poetry №5 Video Poetry №6

MOSAIC on Paper - 20 di MARE ^{Group Show}

Venue: Galata Museo del Mare, Glass Space - Genoa (Italy)

Thursday 12 September - Monday 13 November 2023

Art Commission APS in collaboration with the Genoa Sea Museums Promoters Association presents Mosaic on Paper, a group installation of 20×20 artist multiples on fine art paper, at Galata Museo del Mare. This is the first stage dedicated to museums of the special themed editions as part of the traveling project that has been presented in several European and Italian cities in recent years. The theme of this special edition is, of course, the sea in all its forms. The collective installation will be set up from Sept. 12 to Nov. 13 in an unprecedented space for exhibitions, identified by the curators thanks to the collaboration of Anna Dentoni, the Glass Space, on the fourth floor of the Galata: a very special space, an "inside" and at the same time an "outside," a splendid interior terrace overlooking the city and the Darsena. Lorenzo Mortara writes, in the critical text dedicated to the exhibition: ...In this artistic adventure more of the soul than of the body, we have to abandon all fixed points, make a tabula rasa, revise our knowledge and points of view, abandon preconceived ideas and clichés, and as Kandinsky would say, actively participate with one's mind in the visual contact with the multiples, that is, enter inside the works, also because as Machado finely says: There is no path, the path is made by going... ...How to reflect on the symbol of the sea, primordial event, generator of life but also destroyer and bringer of misfortune and annihilation? How to allow ourselves to be fully engaged in the reading of this collective? How to decipher the inner silence that generates its vision? Symbol in Greek is Symballein, and this leads us to the concept of uniting, that is, putting together many different works with multiple meanings, artist fragments that though minute and infinitesimal are messengers of a deep, wise and ancient yet postmodern feeling...

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Biennale - Le latitudini dell'arte ^{Group Show}

Venue: Kunstquartier Bethanien, Studio 1 - Berlin (Germany)

Otium ^{Group Show}

Venue: Terme di Como Romana, Como (Italy)

Clavis Artis on the Cloud - In Zarathustra We Trust ^{Solo Show}

Venue: ATB Gallery - Turin (Italy)

Iran Germany Italy - International Exhibition ^{Group Show}

Venue: Online

Clavis Artis - Video Art ^{Solo Show}

Venue: ATB Gallery - Turin (Italy)

Friday 24 February - Friday 10 March 2023

Curator: Alessandro Allocco | Featured Artists: ARTOLDO - Sara Ferro & Chris Weil with their Video Art installation Clavis Artis. A Thousand and No More Thousand and One Nights moving images arts projected in a video installation, presented in a virtual space and accompanied by a crypto project, invite the viewer to discover secret representations and procedures in the alchemical work Clavis Artis, with the illuminations contained therein elaborated by the ARTOLDO collective inspired by Zoroastro, Casanova, Nietzsche, Nino Rota, Franco Battiato and many other mystical talents each in his profession.

Algorithmic recombination of more than 800 video artworks created by ARTOLDO based on the alchemical Clavis Artis, inspired by Zarathustra, reunited in more than 700.000 possible different video loops of 78 min each.

ARTOLDO's artist statement: The illuminations of Clavis artis, even the most incuptuous ones because they apparently depict upside-down brats about to be cooked, mademoliselles devoured by rapacious beings with eyes as boiled and sad as if in a trance, ladies skewered at the kidneys, sweet little dragons caught in spiked clavades, represent instead an iconographically alchemical journey as in the best tradition also with surprisingly exotic elements despite the fact that the whole Hermetic fable and chronology is already under the banner of the greatest hodgepodge - albeit with its own severe andnrigorous contradiction all internal to an iron reasoning and stringent concatenations also of occult reasoning and hidden, concealed and concealed principles. In the work around the opus portrayed there, we wanted to highlight the amused bewilderment that the vision of such images provokes, in turn provoking further contemporary disturbances with a postmodern recomposition of the usual wedding couples or other alchemical amenities. The imprint of seduction must have been left by Casanova on those images, and we today, through allusions functioning according to the medieval principle of sympathy, find its imprint also in the graphic elaborations that are the subject of our digital composition. Zoroaster, the most magician among magi, seduced other Venetians coeval with the great seducer, only that with the first, Casanova, Zoroaster ended up in a tragedy, with the second, Goldoni, in a comedy. The fil rouge unravels all the way to the great maestro Nino Rota, the one who found the Clavis artis for real, at a Frankfurt antique dealer and who pulled the strings all the way to Fellini's portrayal of Madame D'Urfè and her fleeting but intense but otherwise disinterested relationship with Casanova as an expert in the magical arts. Between Maretz, aqua roris Majalis & aqua grandinis, Batzlach or Alazagi, Abizar Salt of fire, Alacedach, Magnesia, Algir stone or gravelly stone, Achium and what it does, Alatacha amber, Aazoc or Albetira (also a python/Python, but as a flesh-and-blood crawler or programming language?), Alatron, Adamic Microcosms, Asophol- Celuvialatel, Lachamai Asophol, Alneat and what it does, Hadit and Phosphoros and as well their secret Alazagi or Bazlach, Aladcipi and what they like, of vertigo of the list there is something for everyone - what if these arcane words contained in the alchemical tome are nothing but the nicknames, the pet names of the graceful fierce creatures of the Clavis?

A collection of "a thousand and no more thousand" clips with the specific technique of functioning as GIFs from graphic elaborations of images from one of the most intriguing alchemical manuscripts ever unearthed. The leading idea was to depict the bewilderment with which humanistic scientific research is confronted by fortuitous finds of the Nag Hammadi Codices type, for example, or at any rate by avenues of research that are colored in some way with greater mystery when the object is itself already mysterious as often with rare books, with legendary figures between the literary, the pseudo-epigraphic and the historiographical or when in any case arcane issues and esoteric themes are involved as well as with ethnological and philological knots, ethnographic issues or those of religious studies or, again, when doubts about authorship, verisimilitude and hidden, occult meanings are involved. All of this is then further seasoned by the very essence of the texts, all of which are infused with coded or plain-text messages to "true adepts" along with the disavowal of supposed charlatans and various sophists.

The intention was to develop a kind of facsimile corpus consisting of a series of graphic variations on the theme of each illumination as if they were these additional finds and artifacts-not coincidentally, we speak of divergent images between the two copies so much so that it is unclear whether the two works were gems of a single disappearance or models for each other, with the added mystery of missing and/or mismatched images. In fact, in the illuminations of the manuscripts in question, they are basically crossings that bring together classical Greco-Roman mythology already hybrid with Indo-European inspirations and in turn mixed with medieval Italic and Teutonic mythologies. Lo and behold, the elaborations in question have often given rise to novel figures, hybrid and pregnant with other similarities and allusive to other meanings. Sometimes the serpent-dragon-dragons have been transformed into figures from settings almost of Hindu or Brahamanic ambience, others seem to revert to Babylonian likenesses, still others seem almost of alien provenance, and further, a whole series of little faces and facets, might have been created by George Maciunas in a Fluxus act. Couples united by alchemical nuptials have been dismembered and proposed other liaisons resulting in other menages.

Classically alchemical but less fanciful animals than dragons, such as lions or colorful birds became feathered almost comic book or childhood illustrations, turned into frogs, camels, wolves, teddy bears-accomplice to the grotesque features of the watercolors, where the illustrator's skill was certainly not at the level of the Italian tradition, as practically by default in manuscripts and prints from beyond the Alps, where the focus was not on artistic "skill" but on the transmission of a tradition in a manner that despite the conservatism inherent in all that is believed to be "perennial" and is thus situated in the current of thought of Perennialism, had in itself by definition also the need for a certain amount of originality and innovation (in tradition, certainly), otherwise how to get to the Stone? , i.e., the true boast at the bottom of every alchemist worthy of the name! in spite of the pseudonym. "Clavis artis, even more puzzling..." precisely to indicate the Chinese-box dimension of bibliographic research around works of such reams and complexity.

As well as the fact that the cultural object itself is also the object of appropriation by popular culture starting from certain subcultures that call themselves occult or even just that feel inspired by a certain iconology (as often in hard rock/heavy metal music) or, again, in the context of a trivialization that in any case is always appropriation (even if with different dynamics from the countercultural one, which often astonishes for alacrity and thoroughness although in the context perhaps of a distortion or misrepresentation sought or naive, amateurish) and rewriting even of the visual with meanings for example carrying even political messages of a "liberating" sign (with hymns in fact to the "liberation of the masses" through the alchemical secrets, "now the prerogative of the people," as one reads in many blogs or sub-routes in comments first in internet forums and now ubiquitously practically not even more surprisingly on the most generalist social channels). The "thousand GIFs and one night" have been placed in synthetic worlds accessible through mechanisms proper to virtual reality where a kind of signage also appears made up of Pinterest, Tumblr, Wikipedia signs i.e., the hyperuranic cloud, a true open and accessible repository for the dissemination of such images (dissemination that began as an editorial and curatorial enterprise, one thinks of the first spills at the Venice Biennale with Mino Gabriele) that with good grace of the segregated and sealed library institutions and their custodians are to all intents and purposes the trait d'union with the collective consciousness and unconsciousness at times for discourses that are in any case high-brow even if almost always lacking scientific rigor. Certainly it is that decontextualization that too often is mere naked trivialization can also become sophisticated artistic use - who knows if Franco Battiato has ever quoted Zoroaster, but here, just for the sake of argument, other good examples of that ream will surely be found by looking for them in the vicinity of interstices between high and popular culture. Returning to VR, the artificial landscape is made penetrable to move within it even without the aid of the appropriate visor, but rather by exploiting the possibilities of the specific motion sensors of each digital device used.

Since one of the two Clavis artis, the Roman, now Lyncean, was part of the collection put together by maestro Nino Rota and the erudite high school teacher and scholar of things alchemical Vinci Verginelli, it seemed only healthy and right to build the sound scaping around excerpts from a 1962 cantata in which Rota celebrates the early Gospels and in which topoi such as the Christmas of the Innocents recur, in a way also sublimated in an illumination of the manuscript, as it seems we might suppose, and so it was not, anyway because the oratorio cannot have fallen on this earth very far from the inspirations that the alchemical collection now library fund instilled in the Maestro.

The petal-like floral planting that appears in some of the geometries of the installations on solids with animated GIFs alludes to Rosicrucian milieu attributions that some scholars have speculated given some recurrences in the text of the manuscript and some artifacts traceable to the Rosicrucians. Clearly found online the alchemical illuminations of the Trieste Ms-2-27 and the Roman MS. Verginelli-Rota were subjected to graphic processing by which they were created around the one thousand videos running in a loop starting with the Hortis copy and then moving on to the Lincei copy with a similar also different visual effect. The collection of about a thousand and no longer a thousand clips has the technical specification of functioning as GIFs, a format chosen because the cyberculture of the first hour had a whiff of the arcane and winked at occult references.

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MOSAIC on Paper ^{Group Show}

Venue: Breed Art Studios - Amsterdam (The Netherlands)

Satanic Panic - The Luther Blissett Legacy ^{Solo Show}

Venue: The Gallery, Decentraland - Metaverse (USA)

No War ^{Group Show}

Venue: Palazzo Ducale, Spazio 46 - Genoa (Italy)

Thursday 03 March - Sunday 13 March 2022

NO WAR - SEGRETE artists against war. From 6 p.m. to 10 p.m. screening of all the contributions - The artists who have participated in SEGRETE - Traces of Memory over the past fourteen years, in an alliance to keep alive the memory of the tragedy of the Shoah, in the face of a scenario that brings the atrocities of war back to Europe, stand up forcefully in defense of peace, using the evocative and communicative power of art.

Featured Artists: ARTOLDO - Sara Ferro & Chris Weil with their work Dio No NO War, Felice Ardito, Aqua Aura, Federica Barcellona, Danila Barone, Stefano Bigazzi, Federico Bonelli, Gregorio Botta, Andreas Burger, Stefano Cagol, Gianluca Capozzi, Paolo Cavinato, Tiziana Cera Rosco, Antonella Cinelli, Gianluigi Colin, Davide Coltro, Isabel Consigliere, Miro Craemer, Carla Crosio, Maurizio D’Usio, Roberto De Pol, Elisabetta Di Sopra, Lino Di Vinci, Adriano Engelbrecht, Manuel Felisi, Davide Francesca, Loredana Galante, Giuliano Galletta, Armida Gandini, Roberto Ghezzi, Mauro Ghiglione, Giorgia Ghione, Lory Ginedumont, Pier Giorgio De Pinto, Giovanni Giulianelli, Carla Iacono, Fukushi Ito, Michel Kiwic, Jan Kuck, Margherita Levo Rosenberg, Alessandro Lupi, Federica Marangoni, Giancarlo Marcali, Ilaria Margutti, Christian Masuero, Luisa Mazza, Erik Mittasch, Virginia Monteverde, Virginia Monteverde, Silvio Monti, Giuseppe Negro, Marco Nereo Rotelli, Stefanie Oberneder, Mimmo Padovano, Mauro Panichella e Giulia Vasta, Max Parazzini, Paolo Piano, Alex Pinna, Annalisa Pisoni Cimelli, Angelo Pretolani, Davide Ragazzi, Alessandra Raggi, Silvano Repetto, Fried Rosenstock, Roberto Rossini, Andrea Sanvittore, Joseph Sassoon Semah, Leardo Sciacoviello, Nina Staehli, Silvano Tessarollo, Lidia Treccani, Cristina Treppo, Theo van Keulen, Gloria Veronica Lavagnini, Alessandra Vinotto, Marilena Vita, Francesco Vullo, Maya Zignone.

A clear, simple message in an inscription that rejects a universal and indispensable concept of sensitivity in the various creative forms of their own artistic modus operandi: "NO WAR" curated by Virginia Monteverde.

Further screenings will take place in Amsterdam (Breed Art Studios), Munich (mim), Venice (La Fabbrica del Vedere) and many other places in Italy: CasermArcheologica, Galata Museo del Mare, Palazzo Tursi, LABA Accademia di Belle Arti, Estensioni oltre lo spazio, several schools and many more.

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SEGRETE Tracce di Memoria XIV ^{Group Show}

Venue: Palazzo Ducale,
Antiche Carceri della Torre Grimaldina - Genoa (Italy)

Thursday 20 January - Sunday 06 February 2022

SEGRETE Tracce di Memoria - Alliance of artists in memory of the Shoah. The exhibition, conceived and curated by Virginia Monteverde, born with the aim of remembering the Shoah, is realized every year (since 2011) in the ancient prisons of the Grimaldina Tower of Palazzo Ducale in Genoa. The ancient cells host site-specific installations by international artists, creating an exhibition of strong emotional impact. In addition to the group show, the exhibition hosts topic related meetings, conferences and performances.

Featured Artists in the cells of the ancient prisons of the Grimaldina Tower (First floor):
Miro Craemer, Manuel Felisi, Roberto Ghezzi, Luisa Mazza, Stefanie Oberneder, Andrea Sanvittore, Francesco Vullo.

Featured Artists of the Young Artists Project in the the Grimaldina Tower (Second floor) curated by Gloria Veronica Lavagnini:
Elisabeth Perro, Diego Rimaos.

Featured Artists of multimedia projects in the Grimaldina Tower (Third floor):
ARTOLDO - Sara Ferro & Chris Weil with their Virtual Reality installation Achtung Banditen?! (for Desktop, Smartphone and Tablet), Giò Gagliano.

ARTOLDO's artist statement: During the Liberation War from Nazi-Fascism, spanning from September 3, 1943, to May 2, 1945, following the Cassibile armistice between Italy and the Allied forces until the surrender of German troops in the Italian theater of war, approximately 11,400 Italian military personnel, 44,720 partisans, and 9,180 civilians, including children, women, and men, were killed by the retreating German armed forces. This virtual installation serves as a symbolic and digital memorial for the Italian victims of Nazi-Fascist reprisals, who have yet to receive proper justice, particularly from the German side. This lack of justice stems from the failure to acknowledge Italian court verdicts beyond the Alps, denying both criminals due process and victims full human justice.

The memorial metaphorically and digitally reimagines Berlin's "Memorial for the Murdered Jews of Europe," incorporating various Italian landscapes devastated by war, including mountains, valleys, and urban areas, reminiscent of the Apuan Alps. The sky, once vibrant, now reflects a reddish glow, symbolizing the violence of war. Through an interactive electronic timeline, visitors can explore the atrocities committed against Italian civilians, province by province, using smartphones, tablets, or PCs. Motion sensors guide visitors through the desolate landscape, marked by gravestones and plaques of massacres.

The once green mountains now appear as scorched earth, a testament to the devastation wrought by conflict. Against a sky devoid of its usual brightness, symbols like the "Ro-Ber-To" and "Schwarze Sonne" evoke the darkness of war. Amidst this bleakness, the hope of resistance and renewal persists, embodied by references to General Winter and the eventual return of spring.

The cowardly attempts by invaders to justify their brutality with propaganda slogans like "gang fight" are condemned, as they sought to terrorize the population and enforce racial ideologies. Collaborators, including former fascists, aided in these atrocities, leading to massacres like Sant'Anna di Stazzema. The memorial stands as a rebuke to these atrocities, challenging the audacity of the real perpetrators to label others as bandits.

They used to write 'Achtung! Banditen!' on walls, marking targeted village houses in flagrant disregard for criminal and international law norms. This act served the sole purpose of terrorizing the population and seeking revenge for what the German side perceived as a betrayal. It was driven by the deadly logic of race ideology, aiming to secure living space for the believed Aryan race and to eradicate everything deemed non-Germanic.

Despite the passage of time, disbelief and indignation remain at the forefront, particularly in the face of denialism. This denialism, fueled by the banality of evil, seeks to distort historical truths and perpetuate the horrors of Nazifascism.

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Anticorpi in corpisan(t)i ^{Solo Show}

Venue: Online

Monday 01 November - Sunday 28 November 2021

Featured Artists: ARTOLDO - Sara Ferro & Chris Weil

More than 400 constantly mutating viral videos: Anticorpi in corpisan(t)i - Anticorps in healthy/holy bodies is a rocambole in the pandemic-induced shambles, a kaleidoscopic hodgepodge of piecemeal invented and misrepresented metaphors, a pandemonic matteria in a visual key, though probably pendant to analogies of historicizing inactuality. Like the no faxes with their stomach-churning reminders - though badly and ill-timed, astonishingly unheard of, and in their ignorant unscrupulousness of an unbelievable revisionism precisely because it is so ridiculous - the authors of the work have indulged in a parallelism between a phenomenon of a given historical moment, viz, the authors of the work have indulged in a parallelism between a phenomenon of a given historical moment, namely the fabrication of so-called "holy bodies" in the late Baroque period, and that which the entire ranks of the losers of the forced "no" vote see in the fabrication, in their own words, of "a conspiratorial matrix" inherent in the green passport device.

The work is substantiated by 5 video channels:

1 channel with the ceroplast corpus from San Prospero in Dolcedo (IM).

1 channel that begins with the monogram of Christ and, through explanatory tableaux, leads to an understanding of the secretly discovered correlation between the prerequisites of the corpse excavated from the catacombs and eligible for sainthood and the mechanism underlying the Green Pass tool.

3 channels with a programmed randomization of the loop in a 2x2 and 3x3 grid of generative videos precisely on the theme of the similarity between the "green passport" and the "palmette" (one of the emblems of the sanctified and ceroplastized relic), "Technical-Scientific Committee" and "Pontifical Archaeological Commission" (the one that established the requirements for the bodies that could aspire to become relics), "serological test" and "vaso sanguinis" (the balm bowl that accompanied the holy bodies in the coffins), "devotional culture" and "antibody culture", "martyrs of faith" and "martyrs of scientism".

Perhaps, like Melina Riccio, we too are adopted children of "Zena", and therefore a certain similarity in spelling has been centrifuged, although the similarities end there, with her epiphanically analog and ours digital, but in a false form, in certain cycles still recognizable as a human rhythm interacting with the circus-generating machine.

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ITSLIQUID International Art Fair ^{Group Show}

Venue: THE ROOM Contemporary Art Space + Palazzo Albrizzi Capello - Venice (Italy)

Friday 03 September - Saturday 03 October 2021

ITSLIQUID Group, in collaboration with Venice Events and ACIT Venice - Italian-German Cultural Association, is pleased to announce CONTEMPORARY VENICE 2021 - ITSLIQUID International Art Fair, international exhibition of photography, painting, video art, installation/sculpture and performance art, that will be held in Venice at THE ROOM Contemporary Art Space and at Palazzo Albrizzi- Capello.
The seventh edition of CONTEMPORARY VENICE will be focused on the theme of IDENTITIES and on the relationship between man, society and contemporary cities. The exhibition will explore the lifestyles and the ways of being that run on a parallel level of our ordinary life. Everyday behaviors are the actual reflection of cities and societies we have created and that have developed a personal identity. This new city character becomes the new order that modifies our everyday life. All artists are invited to reflect on the theme and present works related to it.

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GRRL Telephone: PHOTO + VIDEO EXHIBIT ^{Group Show}

Venue: Ilali Studio - Berlin (Germany)

DEAD as a DODO ^{Solo Show}

Venue: Online

Once upon a time
Castello Raggio: nel loop della memoria ^{Solo Show}

Venue: Etherea Art Gallery - Genoa (Italy)

Friday 16 July - Saturday 31 July 2021

Curator: Virginia Monteverde | Featured Artists: ARTOLDO - Sara Ferro & Chris Weil

7 channel Video Art installation featuring more than 100 Moving Images Arts.

ARTOLDO's artist statement: Castello Raggio, formerly an abbey, formerly a villa, formerly a powder magazine, was erected on a promontory with a view, to the west, of the Sestrian shipyards of Italian General Navigation, Europe's largest ship-owning complex, a boast for many, were it only because of working-class sentiment, let alone that of the owner. An areal that promises airports and other amenities as long as they were magnificent fates. To the east in the background the Lantern, a never-disused vestige, more in focus, full-cycle coastal plants. It was born art nouveau - winking at the Trieste Miramare - of an entrepreneurial politician, regent of a growing steel empire to spindle on sight even for him leaning on the balustrade over the waves. A belvedere then, in any sense you take it. After hosting a bit of belmondo and before becoming in retaliation a dormitory for occupying forces who by revenge of history then from the very foot of that promontory will be driven out first of all, it will be blown up.

There around the fishermen, category to finish, in harmony with the bathers, they all know that they are poised between the atavistic and the new that looms and will take away the good days on the beach and their usual work, giving different occupation, but no more diversions, making the neighborhood of villas outside the door a record of blast furnaces, the laundry spread out in the sun between the buildings will be the litmus test of the toll of the passage, wanted or not by all, back or sun, down with the oven. Genoa's Ponente reduced to the city's rubbish heap, the well-wishers there, many kilometers away, perhaps they have passed a day away from Sestri and Cornigliano, the stench in their noses, no wonder they don't live here and this is not the real Genoa, only delegations, blaming the dream of Greater Genoa, who is guilty, but no less so than those who a hundred years later still make urban bipolarity the shield of higher lives.

A Castle of the urban world still rural yes already industrial stealing the sea with its nets, ensnaring, under the motto of progress, he who sleeps the future catches no fish, which is the same as saying that in the future those who progress in the name of progress of fish will catch no more. It is always a matter of who defines what, the various Raggio, the various Oscar Sinigaglia with placid approval of Einaudi and good peace to all. Nostalgia proliferates where countryside and idyll meet the lesser evil, then the factory, certain territories are marked, especially if they are neither flesh nor fish. Like those fin de siècle delegations, relegated to where the sun sets, no longer village, not even really town. Suburban superiors, there where there was grass and water.

No man's land - the end of Genoa. The bathers, left until it dries in the shade of the last sun high over the shining castle that cast no shadows on the Gospel of progress, will not leave it even when there below thunder cannonballs thrown into the sea, military maneuvers a(N)saldo of the war, that make the Raggios - who shelter at other backland shores so far down the country - tremble, frescoes come off the walls leaving everyone stunned though under the bombs. Bagna acciuga, on that dark sea, on a solidarity beach where the Milanese used to come up, all hanging by a salty thread, to the bitter end never to return.

Having ended its earthly affairs, the existence of the castle now a shadow of its former self, abandoned, despoiled, blown up, continues to be a social fact in precisely so called social memory, which depending on how it is from time to time embodied and expressed by the individual, will emanate a different representation. Representations that are groupable into categories-just as in social studies, individuals into groups-and represent their worldview, Weltanschauung. This is how memory holds up, the regents being us, sovereigns of our destiny at least in the depiction, when the play of social forces gets tough and no longer gives play. Mental emanations ruled over memories, radiate rays of light, sometimes even dark, however shining, blazing, radiant.

The Castle therefore lingers, were it only in collective memory and as there perhaps elsewhere as a possibility. As an alternative. To enrich the phenomenology of alternate realities. As hypothesis, counterfactual hypostasis. History and counterfactuality. As in Philip K. Dick's novel, The Man in The High Castle, in which alternate outcomes to historical events, human all too human, are all at once possible, for if reality exceeds fantasy, how do you deal with the fact that reality and unreality are the same thing by coinciding? Coincidences are seldom the exception in the parallel worlds in which the castle continues its existence. What are the appearances of Castle Ray in alternate realities? This is the question that Sara Ferro and Chris Weil of the ARTOLDO duo seek to answer as part of the exhibition The Radiant Regents of Castle Radius at Etherea Art Gallery by Virginia Monteverde.

In seven galaxies that the screens, as in a physics experiment make visible-they constitute the litmus test mentioned above-the worlds rectified by collective memory open up to the viewer. In each of these worlds different physical and social laws apply. In some the spectrum of light is mirrored in a multitude of bright and shining colors, in others the phantasmagoria of forms in continual exit and entry from themselves ad continuum prevails, in many something pulses, whether it is the rhythm given by the speed of movement or the flash of memory, in many the atmosphere is given by colors inverted as in a photographic film negative. Shadows and lights, as of social reality when it comes to politics, strong contrasts, polarities, reversals, revolts. Moreover, time in addition to being relative is also subjective. In some worlds it passes more slowly, it seems almost to stop altogether, in those near the opposite it flows fast, between rapid accelerations.

The interplay of the alternations between gravitation and distortion of the perspectives of inside and outside is a metaphor for one's self in past and future lives. Even when the moment appears the same, the same always differs from the new so that déjà-vu becomes the collective experience of the bathers. Each world is composed of five senses-number symbolized by the breakdown on the screen- that influence emotions in memory. Feelings that could not be more different, like the universe and life itself, yet groupable because man is always the same. The Castle stands in the middle of our point of view, sometimes to the side, sometimes doubling back, sometimes extroverted, sometimes closing in on itself, to stronghold of bathers, headquarters of a resistance against the abominations perpetrated in the city. A perspective look corresponds to a different sense of reality, present, past, future.

Since nothing can be faster than light, only fragments of the projections of the different worlds reach us in this exhibition, the sound itself is lost in the journey through the cosmos already in the atmosphere, since the universe has no acoustics and with that echo and noise. So that the visitor is left only to let his imagination go in wondering what people in those different worlds of reminiscence might have thought and said, how they had experienced or still experience the moment of being in front of that Castle in the permanence and transience of it, even when the building no longer exists in our world. A collage of memories.

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ROMAN SUSAN Streetlight ^{Group Show}

Venue: Roman Susan - Chicago (USA)

Sfarfallii liberali 360° - Centrale Around ^{Group Show}

Venue: Giardini Pubblici, Piazza Arrivabene - Genoa (Italy)

Wednesday 20 January - Sunday 21 February 2021

Centrale Festival will be transformed in the coming months into a "diffuse" event, while maintaining its centrality in Fano, Marche, where the twelfth edition is planned: June 11, 12 and 13, 2021. The Centrale Festival is committed to presenting artworks created in places close to our home, occupying spaces not directly affected by the necessary restrictions imposed by the covid-19 health emergency. Therefore, a series of artists have been invited to break out of the traditional logic of art, but also from the virtuality that now characterizes our lives, applying their visual research to different physical places, with different modes of expression, to promote the daily experience of the work of art, despite the confinement and limitation.

Featured Artists: ARTOLDO - Sara Ferro & Chris Weil (Genoa) with their work Butterfly 360° for Centrale Around, Roberto Cavazzuti (Paris), Elena Franco (Brandizzo), Simone Massafra (Milan), Gianluca Micheletti (Costa di Mezzate), Alessandro Modonutto (Udine), Jessica Raimondi (Anzola dell'Emilia), Angelica Ruggiero (Bologna), Antonella Sabatini (Palcano) & Demesis Tescaro (Bosisio Parini).

ARTOLDO's artist statement: The video work documents a long moment of a very rare phenomenon. Captured on the slopes of Mont Blanc on a beautiful morning of sunshine and clear air, such a moment lends itself to the idea of a 360-degree view that the viewer can make his own by moving his finger or mouse along the screen. Interacting with the work in this way, touching nature, making it one's own, making it less untouched? The transformation of a QR code into a video is analogous to the metamorphosis of a butterfly. The interested viewer is invited to participate in this transformation.
The 360° project tells the story of a peaceful environment featuring a rare phenomena where a swarm of butterflies is nurturing itself by eating the nectar of flowers showing the beauty but also the fragility of a complex ecosystem. The video installation is configured to work as an interactive 360° experience where the spectator can view the untouched nature by moving / grabbing / touching the nature by his / her hands (mouse) but offers also the possibility to be screened large scale as a flat video loop on a wall, building or in cinema.
The footage was shot at a beautiful summer day in Val d'Aosta near Mont Blanc / Monte Bianco and our goal was / is to document the beauty of nature and its inhabitants paraphrasing Francisco Goya "The Sleep of Nature (Reason) Produces Monsters". The demons themselves are created through the kaleidoscopic effect and protect the forest against bad vibes and destructive machines by mankind.

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Nello Spazio Fa Freddo - It's Cold In Space ^{Group Show}

Venue: Chippendale Studio - Milan (Italy)

The 7 Memorials for Humanity - Darkroom ^{Group Show}

Venue: Torrance Art Museum - Los Angeles (USA)

CICA - Experimental Film and Video ^{Group Show}

Venue: CICA Museum - Seoul (South Korea)

Anamorpheion - In/between Worlds ^{Solo Show}

Venue: Palazzo Albrizzi-Capello, Venice (Italy)

Friday 20 March - Sunday 22 March 2020

Featured Artists: ARTOLDO - Sara Ferro & Chris Weil

The Etruscans divided their worldview into four parts (North, South, East and West), connected by an invisible cross that united the gods, allocated in the different directions of the sky. 'Anamorpheion - In/between Worlds' in association with Iulia Millesima is the result of a cinebition, a video art installation that interprets the Etruscans' "Via Cave" and Tomaso Buzzi's "Scarzuola", an ideal city, constructed in the deep heart of Umbria. Dive into an ancient dream within a dream, there is no escape.

Presented by Nevia Pizzul-Capello, with interpretation by Giuseppe Ferro and music by Piero Pizzul, the Anamorpheion video art project represents a mystical journey among openly hermetic symbols therefore internalizable and intelligible despite their arcane being. Different dream worlds flow one into the other seamlessly i.e. eternally, as eternal are both the soul and the sapiential path. The character is listening to his own inner voice that he literally follows and whispers moods and vibrational states to him rather than words. The inspiration for the work originated from a discourse on Etruscan sacred play and those figures who, like the film's protagonist, possessing the highest knowledge in the furrow of the most complex esoteric traditions, are faced with the challenge of tracing that complexity back to something that brings man back to his purest essence, as such only found in nature in a play of cross-references between earth and sky, as in the millennia-old Hermetic tradition.
Filmed among the Etruscan Vie cave in the Tuscan Maremma and in Buzzinda, an ideal city built by Tomaso Buzzi in Montegabbione d'Orvieto in a place where Francesco d'Assissi also apparently lived, Anamorpheion is a journey among sapiential dwellings declined in the complex phenomenology of variations in tuff, a geological formation whose fate, whether it has been excavated or made brick, is still to be swallowed again by nature, as long as it exists.

ARTOLDO's artist statement: Anamorpheion - In/between Worlds shows a dream within a dream, an Inner and an Outer World. An expanded cinema experience based on the works of Tomaso Buzzi and Etruscan architects. The Etruscans imagined their heaven - Zeri and earth - Cel as being quartered by an invisible cross constructed of a north-south axis known as Cardo and an east-west line named Decumanus. It was the first mentioning of a possible multiverse including parallel worlds and multiple dimensions. To create this experience we developed an algorithm that allows us to create mirrored kaleidoscopes without losing the original motion picture.

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Exhibitions

Artifashion Intellighenzia - The Virtual Journey of the Mask Solo Show

Venue: Studio Brera, Milan (Italy)

Thursday 6 February - Sunday 9 February 2025

NoWeapon.World Group Show

Venue: Emergency, Venice-Giudecca (Italy)

Thursday 31 October - Thursday 14 November 2024

Biennale - Le Latitudini dell’Arte: MOSAIC ON PAPER – Display Group Show

Venue: University Library of Genoa (Italy)

Monday 8 July - Sunday 8 September 2024

Ces Gens Là Group Show

Venue: Galerie AVM, Montmartre - Paris (France)

Thursday 25 July - Sunday 11 August 2024

MOSAIC on Paper - 20 di MARE Group Show

Venue: Galata Museo del Mare, Glass Space - Genoa (Italy)

Thursday 12 September - Monday 13 November 2023

Biennale - Le latitudini dell'arte Group Show

Venue: Kunstquartier Bethanien, Studio 1 - Berlin (Germany)

Saturday 03 June - Sunday 18 June 2023

Otium Group Show

Venue: Terme di Como Romana, Como (Italy)

Saturday 3 June - Sunday 30 July 2023

Clavis Artis on the Cloud - In Zarathustra We Trust Solo Show

Venue: ATB Gallery - Turin (Italy)

Wednesday 15 March - Thursday 23 March 2023

Iran Germany Italy - International Exhibition Group Show

Venue: Online

TUESDAY 28 FEBRUARY - FRIDAY 31 MARCH 2023

Clavis Artis - Video Art Solo Show

Venue: ATB Gallery - Turin (Italy)

Friday 24 February - Friday 10 March 2023

MOSAIC on Paper Group Show

Venue: Breed Art Studios - Amsterdam (The Netherlands)

Sunday 20 November - Sunday 04 December 2022

Satanic Panic - The Luther Blissett Legacy Solo Show

Venue: The Gallery, Decentraland - Metaverse (USA)

Saturday 01 October - Monday 31 October 2022

No War Group Show

Venue: Palazzo Ducale, Spazio 46 - Genoa (Italy)

Thursday 03 March - Sunday 13 March 2022

SEGRETE Tracce di Memoria XIV Group Show

Venue: Palazzo Ducale, Antiche Carceri della Torre Grimaldina - Genoa (Italy)

Thursday 20 January - Sunday 06 February 2022

Anticorpi in corpisan(t)i Solo Show

Venue: Online

Monday 01 November - Sunday 28 November 2021

ITSLIQUID International Art Fair Group Show

Venue: THE ROOM Contemporary Art Space + Palazzo Albrizzi Capello - Venice (Italy)

Friday 03 September - Saturday 03 October 2021

GRRL Telephone: PHOTO + VIDEO EXHIBIT Group Show

Venue: Ilali Studio - Berlin (Germany)

Friday 03 September - Saturday 04 September 2021

DEAD as a DODO Solo Show

Venue: Online

Friday 06 August - Saturday 28 August 2021

Once upon a timeCastello Raggio: nel loop della memoria Solo Show

Venue: Etherea Art Gallery - Genoa (Italy)

Friday 16 July - Saturday 31 July 2021

ROMAN SUSAN Streetlight Group Show

Venue: Roman Susan - Chicago (USA)

Monday 08 March - Sunday 28 March 2021

Sfarfallii liberali 360° - Centrale Around Group Show

Venue: Giardini Pubblici, Piazza Arrivabene - Genoa (Italy)

Wednesday 20 January - Sunday 21 February 2021

Nello Spazio Fa Freddo - It's Cold In Space Group Show

Venue: Chippendale Studio - Milan (Italy)

Wednesday 07 October - Sunday 08 November 2020

The 7 Memorials for Humanity - Darkroom Group Show

Venue: Torrance Art Museum - Los Angeles (USA)

Saturday 18 July - Tuesday 15 September 2020

CICA - Experimental Film and Video Group Show

Venue: CICA Museum - Seoul (South Korea)

Wednesday 27 May - Sunday 14 June 2020

Anamorpheion - In/between Worlds Solo Show

Venue: Palazzo Albrizzi-Capello, Venice (Italy)

Friday 20 March - Sunday 22 March 2020

Artifashion Intellighenzia - The Virtual Journey of the Mask ^{Solo Show}

NoWeapon.World ^{Group Show}

Biennale - Le Latitudini dell’Arte: MOSAIC ON PAPER – Display ^{Group Show}

Ces Gens Là ^{Group Show}

MOSAIC on Paper - 20 di MARE ^{Group Show}

Biennale - Le latitudini dell'arte ^{Group Show}

Otium ^{Group Show}

Clavis Artis on the Cloud - In Zarathustra We Trust ^{Solo Show}

Iran Germany Italy - International Exhibition ^{Group Show}

Clavis Artis - Video Art ^{Solo Show}

MOSAIC on Paper ^{Group Show}

Satanic Panic - The Luther Blissett Legacy ^{Solo Show}

No War ^{Group Show}

SEGRETE Tracce di Memoria XIV ^{Group Show}

Venue: Palazzo Ducale,
Antiche Carceri della Torre Grimaldina - Genoa (Italy)

Anticorpi in corpisan(t)i ^{Solo Show}

ITSLIQUID International Art Fair ^{Group Show}

GRRL Telephone: PHOTO + VIDEO EXHIBIT ^{Group Show}

DEAD as a DODO ^{Solo Show}

Once upon a time
Castello Raggio: nel loop della memoria ^{Solo Show}

ROMAN SUSAN Streetlight ^{Group Show}

Sfarfallii liberali 360° - Centrale Around ^{Group Show}

Nello Spazio Fa Freddo - It's Cold In Space ^{Group Show}

The 7 Memorials for Humanity - Darkroom ^{Group Show}

CICA - Experimental Film and Video ^{Group Show}

Anamorpheion - In/between Worlds ^{Solo Show}