AC: When did you find out about your love for photography?

CP: My love for photography dates back to when I was in primary school and used my camera during school trips, but later became a true love when I bought my first digital camera and I could travel to Santiago de Compostela in Spain.

AC: Why do you always choose to be the subject of your photos?

CP: I came to the necessity to take pictures of myself in time or maybe, I should say, the necessity itself evolved. My first self-portraits date back to when I was in high school: When I was 17, I felt marginalized and never appeared in those classic pictures with mates and friends and then I just wanted to be photographed as well: I was the only one who could do it because this way I did not get embarrassed.
For many years, it has been only about this: it was a way to keep the memory of myself. Later in 2006 – in a period in which I felt such a pain that I could not overcome – one day I started taking picture of myself, shooting a picture after the other and stopping only when I actually felt “released” from the mess I sensed in my stomach. Starting from that time, I realized that taking pictures of myself helped me exorcise in a way my discomforts and tell more about myself, something which I was never able to do with words but which I always needed to do.

AC: Do you feel inspired by any author?

CP: My approach to photography has always been instinctive and only during these last years, I finally discovered and appreciated the history of photography. I don’t know if I can actually say to be inspired by any specific author; however, there are certainly some photographers that struck me deep inside and who I love for something which I would like to be able to bring in my approach to photography, more than in the photographs themselves.
About Franesca Woodman I feel the “pain” and what I like about her the most is how she is able “to do research”: I am fascinated by the way she investigates the space and connects it to her deepest Self by employing her body and also I am fascinated by how taking pictures of herself becomes a true experience. In one of her retrospectives of some years ago in Siena there was a video in a loop shot by one of Woodman’s friends while she was taking picture of herself: it is a video which shows how she used to prepare everything in monastic silence and all of her movements are, even before the snapshot, art.
About Jan Saudek I love her search for beauty by expropriating the real which becomes almost grotesque. About Weston I love the sensuality of forms, about Roversi sensitivity and elegance, about Newton perfectionism, about Man Ray all of his experimentation.

AC: Why did you choose Polaroid cameras? What are the advantages and disadvantages of this medium?

CP: The Polaroid camera has been for years an object of desire for me: it was the camera of all the pictures during my childhood. Later it stayed unused and locked in the closet. For years, I have been thinking that eventually I might have brought it back to life. Hence, when I finally started using it more often with such curiosity, I realized that it was going to be active part of my experiences. The Polaroid camera holds inside so many characters and maybe many contradictions.
The Polaroid camera is a medium born to be “easy to use” (“point and shoot” commercials used to say): aside from more professional models, Polaroid cameras all have a fixed diaphragm and a sensor that, according to light, decides shooting time-lapses. “To change” the behavior of the camera with some tricks becomes a challenge and active part of the pre-production stage, which I love to experiment with. This pre-production stage implies also overcoming difficulties that arise while shooting self-portraits with these cameras. They sometimes don’t have delayed snapshot or, if they have it, it is quite severe (usually you have 10 seconds to position yourself), sometimes they don’t have the tripod connection and others misfire (they are all quite old cameras) exactly when you think you got the perfect photo (although we clearly know that it does not really exist).
Shooting with a Polaroid is almost cruel and close to what life really is: considering the cost of films, you have few occasions and very little margin of error. When you decide to move an image in your head on film, the photograph you get stands as the “unique possible moment” which, in spite of all the imperfections, succeeds sometimes in being “the perfect moment” for me and which I decide to show also to others. Finally, there is the frame: the film strongly characterizes the final image with tones and output; therefore, prior choices are needed to optimize results. Film calls for concentration to develop awareness of what you are going to do. Another very important element for me is that the film has its own size and consistency which you can touch and feel immediately (without “filters” due to developing times in the dark room for traditional films, the transfer process on pc or light room for digital frames). Moreover, for its chemical and physical properties, you can work on it “manually” and “with your hands” and this gives me the possibility to dialogue with the pictured myself like in a very personal auto-analysis.

AC: Talking about your past works, what is the one you were the most excited about and which one do you identify the most with?

CP: It is hard to answer this question because every one of my works is strongly tied to an important moment for me; however, I can tell you about those works which mean to me the important cornerstones of my career. Among these, I would like to mention “Musae”, a project carried on with Alan Marcheselli and which not only started our collaborations but also constituted the moment which taught me to think also in a planning perspective. In addition, “Io, tu e le rose” (You, me and the roses), which is the moment in which I tested the urgency of self-portraying to exorcise a negative moment and finally “L’anima è blu” (Soul is blue), a series of long exposures with pinhole camera.

AC: You mentioned your collaboration with Alan Marcheseli. Tell us about Polaroiders, the web community you founded with him.

CP: Polaroiders was born in 2010 thanks to Alan Marcheselli’s idea which I completely supported from the very beginning. We wanted to give a “virtual” home to passionate photographers to immediately develop, a place where to meet, confront and share a mutual passion, trying to anyway create concrete events so as all this could live also in the “real” world and actually promote many emergent Italians’ work which is underestimated in the traditional art system. Today, Polaroiders.it records almost 2000 enrollments, more than 25.000 photographs, about 50 active events and exhibitions both in Italy and abroad and two Snapshots Festivals.

AC: What projects are you working on now?

CP: I will soon start experimenting long exposure with pinhole cameras and Impossible 8×10 film (the new company which in 2008, after Polaroid bankrupted, bought the last plant in Europe starting again the production of instant developing films). However, I have not yet defined the project so well in my mind and that urgent need which leads me to shoot has not yet come.

AC: What is still “almost” in you?

CP: I feel “almost” in many things, but mainly “almost” is the condition I feel when I need to shoot, it is that undefined perception which I try to define, something I would like to say but stays wordless until I get in front of the camera.

Piero Manzoni

The volume is edited by Johan & Levi editor.

Her artistic practice refers back to the genre of staged photography, a contemporary photography trend which is aimed at presenting constructed scenes as real according to the dynamics of cinematography.

A fundamental character in her works since 2008 is literature, which inspires the artist to create shots with imaginary and suggestive settings, though still in a very traditional fashion.

Every shot portrays the mise-en-scene of a key fragment which is taken from famous literary works and  interpreted in a very personal way. These works speak about her life: the favorite setting is Tolfa, a small city in the province of Rome where Valentina grew up, the characters participating in the reenactment of the story are her friends, relatives and other inhabitants of the town (the newsagent, the postman, the school janitor), while the composition of the mise-en-scene is strongly influenced by Asian cinematography and scenic design, which Valentina studied in-depth during her academic career.

The result is a photographic production which is coherent, touching, and able to catch the viewers’ attention to guide them through a completely personal reconstruction of the recreated event.

Photography is then for the artist a creative necessity: by using this tool, she is able to give life to literary  images. And she does so with the very same knowledge of those who are  fully aware of how to make a movie: this happens in one of her first series “The Princess and the Pea” (2009). With the employment of seven images, Valentina Vannicola brings us back to the main sequences of Andersen’s  fable. The story is set in the Maremma Laziale and characters interpreting the different roles are her friends and relatives. The artist took care of the entire project, starting from the reading of the fable and following with the draft of a “storyboard” made up of preliminary sketches which hold the idea of the final shot composition. The collective participation of those who volunteer to be shot is extremely important: as a real work team, everyone strives to find “scenic” materials and to choose the most apt location, offering their viewpoints on the project, which turn out to be fundamental for the artist herself.

Hence, every photographic shot comes from an intimate and personal  study and creation stage, followed by the practical collective stage of the mise-en-scene. The photographic narrative summarizes with seven sequences the story of a princess who was able to prove her “regality” by realizing the presence of a pod hidden in her bed under a pile of twenty mattresses. Coming from the same period, the series Escape (2009) is inspired by Cervantes’ “Don Quixote de la Mancha”. The operational rules of personal study and active group participation are the same. In this case, the ironic element of the images is stronger than before, thanks also  to the protagonist of the shots, who is a bored housewife captured while reading the picaresque novel while having a hot bath or riding her exercise bike, plunged into the protagonists’ bizarre adventures.  The reference to Monicelli’s irreverent atmospheres in “L’Armata Brancaleone” is immediate: the woman imagines a scruffy hero confronting a flock of sheep, a fantasy which is in a way attached to her everyday life in a small town in the countryside.

In “Alice nel paese delle meraviglie”(Alice in Wonderland) (2009), the protagonist is a mature woman, closer to the “mom” model we all hold inside, and different from the character imagined by Carroll. The characters’ grotesque quality is very strong and always ironic, so that the White Rabbit and the Mad Hatter as well are embodied by adult inhabitants of Tolfa, who play along with Valentina Vannicola, allowing her to tell us something about her life, introducing to us characters and places she grew up with. The atmosphere, which is at times comical, sometimes clouds, making the setting more grotesque.

The series ”Inferno”(Hell) stands for Valentina Vannicola as a great challenge: in 2011 she decided that Dante’s masterpiece, a cornerstone of Italian culture, would work as a source of inspiration for her shots. Her study was long and strongly in-depth; the artist’s operational scheme is the same as for her previous series: analytical study of the text, draft of a storyboard during which her imagination takes shape, search for the right setting, characters and materials. Once more, Tolfa and its inhabitants are the protagonists of the shots: the chosen areas are those of the Maremma laziale, Santa Severa coast and the striking caldara in Manziana. There will be fifteen shots which the artist has been thinking about for a while, there are images and thoughts that little by little are taking shape from her mind in the form of sketches which almost spontaneously gather among her personal papers and which only after one year would finally come to light in such a complex project.

The beholder’s viewpoint takes Dante’s place, the narrator who guides us in the discovery of the afterlife waiting for sinners: we then find again the door to hell with damned souls resigned to their fate, the limbo, the indolent, glutton, avaricious, wrathful, apathetic souls, other than famous characters such as Farinata degli Uberti, condemned in the circle of heretics, and Paolo and Francesca in that of lust. Every image is always accompanied by Dante’s tercet from the poem which inspires the shot.

“Living Layers III” is the first project realized by Valentina Vannicola which does not refer back to literature. It was born in collaboration with Marco museum and the Roman gallery Wunderkammern and it does not portray the artist’s native town as its setting; rather,  it focuses on the working-class neighborhood Torpignattara. Although the starting point and the setting constitute a novelty to confront with, the artist’s planning scheme stays almost the same.

The first step is then an in-depth study of the area and neighborhood, both from a urban-planimetric and human point of view, made up of walks to discover people inhabiting Torpignattara every day.  The discovery step generates in Valentina Vannicola’s mind paradoxical images according to which a tree might grow from the tiles of a terrace, a whale  might plunge into the depths of earth, opening asphalt as if it was a dense and dark sea, a boat might navigate a sea of grass  and so on. This dreamlike element  is associated to a strong emotional element, which is expressed by the characters portrayed: everyone is profoundly lonely. Isolation, apathy, resignation are all part of the anxiety coming from city life, especially in a big city such as Rome which presents scenarios of marginalization in the outskirts.

In her most recent project (2012), Valentina Vannicola goes back and imagines a completely personal version of great novels, this time confronting herself with a work coming from Italian contemporary literature by Stefano Benni (1976) and titled “Bar Sport”. The cornerstones of the narrative are the characters embodying the Italian stereotype of the habitué at the provincial bar, including card players, the beautiful cashier, old wives, the playboy and the “attractions” of the bar, such as the pinball machine, the billiard table, the telephone and the raffle. This series is made up of the episodes told by the clients at Bar Sport, stories which always  oscillate between fantasy and reality and which are once more played by the “actors” from Tolfa. Valentina Vannicola is represented by OnOff Picture agency and Wunderkammern gallery in Rome.

]]> https://www.almostcurators.org/en/zoom-benedetta-falugi/feed/ 0 https://www.almostcurators.org/en/lui-chi-e-silvia-giambrone/ https://www.almostcurators.org/en/lui-chi-e-silvia-giambrone/#comments Wed, 02 Oct 2013 14:26:20 +0000 http://www.almostcurators.org/?p=1331 Silvia Giambrone was born in Agrigento in 1981. She has been living and working in Rome since 2002, when she got into Rome Fine Arts Academy.

The personal element is fundamental to her work: this, together with universally recognized themes, is one of the various research fields of her artistic production. One of the most important among these is certainly the case of body, which is at the same time fertile research field and active tool to develop different projects: in “La viola e un poco nervosamente” (2010), the body of the artist abandons its social identity representation to play the role of a musical instrument: Silvia disappears, the artist disappears and gets replaced by an object which has a specific function, that is playing music. In this performance the heartbeat rhythm becomes the arrangement for an improvised melody underlining how our society gets actually influenced by the context where things appear and by labels they get. Silvia Giambrone shows us that a half-naked body is not necessarily an object of desire, something which is instead always maintained by today’s media bombing of images.
Following this, the performance “Eredità” (2008) is based on the analysis of seduction techniques and especially on the everyday habit of make-up: the artist attaches fake metal eyelashes on her eyes, symbols of the cosmetic habits to which women are forced from time immemorial because of the cultural legacy imposing on them to be pleasant to men’s eyes.
Silvia Giambrone’s body is then the target of a laser which is drawn on her naked skin in “Sotto tiro” (2013): the artist is subject of an unknown and unmotivated threat, that is the actual being within reach of a laser which turns her into a convicted victim. Such intrusive light signal might also represent the harassing gaze which is impossible to escape from and which violates personal intimacy causing discomfort.
“Teatro anatomico” (2012) is a performance presented on the occasion of the collective exhibition “Re-generation”: an embroidered collar is sewed on the artist’s neck. The brutality of the needle piercing her flesh contrasts with the simplicity of the artist’s reaction: she shows off her collar as an accessory which at the end of the performance has made her more beautiful, pleasant and feminine. This performance conveys a strongly symbolic message: the collar represents both religious and political authority (priests’ white collars, but even more the collars of those well-pressed shirts underneath powerful men’s coats), as well as rigor, recalling girls’ school uniforms and smocks. The fact that the collar is being sewed by hand inevitably refers back to feminist artistic production and culture, as well as to Italian women’s past condition which regarded to sewing as one of the few activities allowed.
Silvia Giambrone appropriates this technique and one of the first works where she employs it is “Il Pizzo” (2012): tiny fragments of blue lace cover the faces of female figures in her parents’ wedding pictures. Lace turns into a mask which hides these women’s identity: on the one hand, times has now changed them so much that they cannot even recognize themselves in those pictures anymore, on the other hand, this also implies the paradoxical possibility of preserving them from fading paper, which will make them completely disappear. Also, the artist leaves only the faces of male attendants in order to better underline how the theme of female beauty is again indelibly tied to the dictates of male culture.
Lace as the proof of an old female tradition tied to Southern Italy and to those female ancestors who spent their time sewing: these are the key concepts of the work “Made in Italy”. Our country is still strongly anchored to its past and this cultural weight, which is both a dead weight and a treasure to pass on posterity, is represented by a plaster block with stamped molds of collars. Giambrone’s “Made in Italy” is a mirror of nowadays society which once again portrays women in a condition dependent on men.
However, sewing is not useful to only create pretty and decorative clothes ornaments: proof of this is “Eroina” (2012), the hooked reproduction of the molecular structure of heroin. There is both a strong contrast between the concept of crochet hook itself and the final result, as well as a subtle meaning game around the title of the work: heroin, indeed, might be associated both with the drug and a powerful female figure come to rescue society.
One of her favorite communications media is writing. Language is the tool which allows Silvia Giambrone to create her “Autoritratto – Io nel settembre 2009 all’altezza di un universo senza risposte” (2010), where everything revolves around the concept of subtraction: there is, indeed, physical subtraction when she gets rid of all the letters which make up the title of the work from moving sheets with the letters of the alphabet. Inspiration for this piece comes from Carla Lonzi’s “Sputiamo su Hegel” which deals with the theme of the actual possibility for the subject to exist regardless of the dialectic condition which defines him, that is out of a definite context where he exists unwillingly.
Words meet the body in “Translation” (2009), a performance which investigates the relationship between language and reality: the language we speak is considered just like Law, a code which defines everything; however, someone’s hands simultaneously writing the same sentence in different languages help showing the illusion of the idea that there exists a correspondence between words and real objects. In the same way, the commandment “You shall have no other gods before me” is translated into another language and simultaneously written in two different ways by the same person, showing how the concept present in those words gets actually betrayed.
Attention to words is found also in “No Enemy” (2008), an installation with big and heavy wooden letters covered with lead which invade the foyer space of the third level of MART in Rovereto. The absence of space between the words “no” and “enemy” initially confuses the beholder who hardly understands the meaning of those words. Once again the artist unmasks the ambiguousness of language and the meanings attached to it.

Silvia Giambrone has been collaborating with various galleries: Il ponte contemporanea, Roma; Galleria Bonomo, Bari; Galleria Deanesi, Rovereto; Galleria Biagiotti, Firenze and starting from 2012 Galleria Doppelgaenger, Bari.

She has recently won the Main Prize at Kaunas Biennial.

Among her personal exhibitions: L’impero libero degli schiavi, Galleria Doppelgaenger, Bari (2012); Parallel Borders, Roma, curated by Mark Mangion (2012); Sotto falso nome, Fondazione Spazio13, Warsaw (2011); Fuori di me, Spazio Ferramenta, Torino, curated by Susanna Sara Mandice (2011); Invito all’opera, Galleria Il ponte contemporanea, curated by Achille Bonito Oliva (2010); More to come, Upload Art Project, curated by Silvia Conta, Federico Mazzonelli, Julia Trolp (2010); Speaking your language I learnt how to hate you, Galleria NextDoor, Roma, curated by L. Benedetti (2008).

Among her main collectives, the most recent ones are: KAUNAS BIENNAL UNITEXT ’13, National Museum of M. K. Čiurlionis (20013); Refuse, Ex Mattatoio di Testaccio, La Pelanda, Roma, curated by Roberto D’Onorio (2013); SUBJECTIVE MAPS/ DISAPPEARENCES, Parallel Borders 1 / Monuments & Shrines to Capitalism curated by Mark Mangion for Malta Contemporary Art, National Gallery of Iceland (2013); MEDITERRANEA 16, Biennial of Young Artists from Europe and the Mediterranean (BJCEM), Ancona (2013); Autoritratti. Iscrizioni del femminile nell’arte italiana contemporanea, MAMbo, curted by Uliana Zanetti, Bologna (2013); Vetrinale, Roma, curated by Cecilia Casorati, Micol di Veroli e Yuri Elena (2012); Re-Generation, MACRO Testaccio, Roma, curated by Maria Alicata e Ilaria Gianni (2012).

www.silviagiambrone.com

Besides his work as a photographer, at the beginnings of the ‘80s, Ghirri begins his collaboration with the academia, holding seminars about photography, first at the University of Parma, later in Reggio Emilia. The courses held from January 1989 to June 1990 at the University for Progetto di Reggio Emilia will be later collected in the volume “Lezioni di fotografia”, curated by Giulio Bizzarri and Paolo Barbaro. Texts were transcribed from the registrations of his work as a professor and, therefore, aims to preserve the great master’s original dialectics as much as possible. From these, it is very clear the wish of communicating his great love for and complete dedication to photography, which is told through personal anecdotes and historical insights. Similar to an autobiography, this volume presents to us specific episodes, including the production of the covers for Lucio Dalla and CCCP’s famous albums, exhibitions, experimentations, and the projects he was commissioned.

Everything is told with a simple language, something which attests also for Ghirri’s own simplicity in conceiving life, still as a young boy born in the countryside who never wanted to leave his homeland. His photos, instead, show a simplicity which is only apparent. They portray things which we all look at, but he is the only one who was able to really see. These realities are revealed to us thanks to his attentive gaze, which until today has found innumerable though vague imitations.

Obviously, every announcement is matched with a picture which portrays the old author of the message as best as it can.

Federico Ciamei’s role is that of disclosing for us this reality, which is apparently bizarre, but reveals itself to be deeply poetic and touching image after image. As a silent observer, the author takes pictures directly of the screen, as if he would not alter the essential technological and virtual quality which makes everything the more captivating and allows us to understand how times change and how the Italian situation is possibly somehow still far from this… for better or worse.

“80s SWM seeks LTR” has been published independently as a photo book.

Federico Ciamei’s works have been shown at the Internetional Festival of Photography in Rome, the Street Style (2007), the Big Bang TV (2008), Villaggio Olimpico in Rome (2010), and Photocapalbio (2009). His photos have been published on national and international magazines (Le Monde, Stern, L’Espresso, Geo, Vanity Fair, GQ, Traveller, Monopol).

]]> https://www.almostcurators.org/en/zoom-anna-di-prospero/feed/ 0 https://www.almostcurators.org/en/lui-chi-e-marco-raparelli/ https://www.almostcurators.org/en/lui-chi-e-marco-raparelli/#comments Thu, 09 May 2013 12:38:52 +0000 http://www.almostcurators.org/?p=655 Marco Raparelli’s work focuses on drawing freed from any academic scheme.

Born in Rome in 1975, after the studies at the Academy of Fine Arts, he specialized in video animation at the Loughborough College of Art (U.K.) and in painting at the Académie des Beaux Arts in Brussels.

Marco Raparelli’s style is almost instinctive, because it does not cover the use of drafts or preliminary tests, so the error becomes a natural consequence and an integral part of his work.

Everyday life is the main source of inspiration for the creation of the characters’ world designed by the artist, where funny situations and unreal scenes contrast with the reality of daily life. These characters come to life in short films of video animation such as “Everything changes” of 2010, where the artist ironically deals with the changes made by the passing of time, or as in “Abandoned Dog” of 2008, a surreal tale of a day lived by an abandoned dog.

In 2006 Marco Raparelli opens himself to the wall-drawing, working directly on the walls of the “BastArt” gallery of Bratislava, within the exhibition “Growing City”; this work, entitled “Bef Kitchen”, represents a home environment in which lives Bef, first character spread from the imagination of the author: Bef is a ungraceful rude woman who represents a kind of character the artists is particularly fond of; she’s not “physically” present in the scene, but we’re able to perceive her presence, imagining her in the kitchen, or while she comes out from the door. The only single real item consists of a small television with a video-animation in loop. The technique of wall-drawing is also represented in “The Wall”, an installation made in 2010 and presented at the “Fondazione Giuliani” of Rome where the artist creates a large hole in the wall with acrylic colors and accompanies it with a heap of ruins of plaster on the floor, simulating a real break in the wall: it’s up to the viewer to determine whether it’s fiction or reality. The drawing finds his perfect location on paper and Raparelli chooses a 20 meters long one for his “My Social Awareness” of 2008, there he anthropologically represents a countless specimens of the humankind.

In 2010 Raparelli goes back working on spaces, reshaping them at the “Nomas Foundation” in Rome: he operates in a “Reading Room” creating the container which guests other authors’ works, in a large collective installation. “Non familiar idea of Rome” was born during the period spent by the artist at the American Academy in Rome: the idea was to portrait all the people who at that time funneled through the Academy, setting up the images in the spaces of the bar, which is a mandatory stop for guests and not, according to the type of the ancient “quadrerie”, in a strong connection between past and present.

The artist’s passion for video once again meets wall-drawing in “The only thing that moved next to us was the wind”, an installation made in 2011, in which the animation follows the different stages of the daily light, from the rising of the sun to the night, with a large and round moon framed by a window drawn on the wall: stargazing, we could face an imaginary space crossing the threshold of reality to observe a parallel one, similar but unreal, made up of black lines drawn by the author’s hand.

Raparelli’s characters assume human dimensions in the installation “Nudist Area”, made in 2011 for a collective exhibition titled “Made in Filanda”, realized in a former cotton mill in the countryside around Arezzo; the interaction between the characters of Raparelli’s fantasy and the reality is total; the cardboard shapes are placed into the real space, as they’re emerging from the borders of the paper, the wall or the video.

Always interested in the analysis of the “people of the art’s world”, which he studied and observed with an almost scientific attention, Marco Raparelli in collaboration with the artist Giuseppe Pietroniro, achieve this investigation creating a sort of parallel museum, made of false works of art, false information tags and even false services such as a bar and a bookshop. The irony of this operation owns a deeper reflection on the art’s situation and on the museums’ nowadays conditions; title of the installation is “Neither here, nor elsewhere”, hosted in 2012 in the spaces of the Andersen Museum in Rome.

The drawing leaves its space to the paper, conceived as a pure form in the opera “The disappeared elephant”, presented in 2012 at Palazzo Baldassini in Rome; retro-lighted shapes of paper hidden by a white cloth tell us about the historical story of the albino elephant, who lived in this palace, gift of the king of Portugal to Pope Leo X. The atmosphere generated by lights and shadows leads us into a dreamy and fairy dimension, bringing us back to our childhood.

2012 is again a very important year for Marco Raparelli, engaged in important exhibitions such as the collective “RE-GENERATION”, presented in the spaces of Macro Testaccio, in which are exhibited his “unnamed” characters made by a synthetic black line; while the gallery “Ex-Elettrofonica” reserves him a solo show titled “Look Mommy, I scribbled”, which takes cue from the homonymous book published by “cura.books’, with an site-specific installation focused on the differences of mankind that each character invented by Raparelli represents.

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