Explore the private rare book collection of C. G. Jung and his personal handwritten excerpts. Uncover the secrets of alchemy and psychology. Filmed at amazing locations like the House of C. G. Jung, Eranos and other mystic places in Switzerland...
Discover a library with over 23.000 books in the fields of Alchemy, Hermetica, Cabala, Magic, Rosicrucianism, and Mystic! Watch legendary first editions, rare books, manuscripts and learn more about the hidden stories and secret symbols of Esotericism...
The figurative artist Ugo Dossi presents his works in the field of tarot, automatic drawing, metaphysics, astronomy and the cosmos, hypnosis, telepathy, and alchemy, with incursions into the collective subconscious and the thought of Franz Anton Mesmer and Wilhelm Reich.
Artoldo (Est.2015) is an international award-winning creative collective founded by renowned film directors and new media artists, Sara Ferro and Chris Weil. Their works have been screened at film festivals, in galleries and museums around the world.
Artoldo is a german, italian ultra-contemporary artist couple, mainly associated with Virtual art, consisting of Sara Ferro and Chris Weil. Artoldo is most frequently exhibited in Italy, but also in North America, Europe and Asia.
The retrospective "Satanic Panic" invites the visitor to explore a handpicked selection from the 428 NFT video artworks of the Luther Blissett Legacy collection created by ARTOLDO crypto in memory of the super folk hero Luther Blissett (1994-1999). The exhibition reflects on the different selves of the Luther Blissett pseudonym which was used by hundreds of left-wing artists in Europe to produce art, perform pranks, and publish books. Their most famous novel "Q" may have been abused by right-wing renegades as inspiration for their conspiracy theory of QAnon.
Projections on view directly from the street, afternoons and evenings featuring works by Lisa Armstrong, ARTOLDO – Sara Ferro & Chris Weil with their work TempoRally, Audrey Barcio, Ruth Biene and Timo Herbst, Thomas Georg Blank, Methas Chantawongs, Jiayi Chen, Hugues Clément, Javier González Pesce, Anthony Hamilton, Shir Handelsman, Lisa Hoffmann, Jonathan Johnson, Amay Kataria, Toby Kaufmann-Buhler, Daniel Kukla, Jasmine Lin, Jeff Mendenhall, Ruxandra Mitache, Rick Niebe, Ej Nussbaum, Labkhand Olfatmanesh, Cheryl Pagurek, Matthew Pell, Miloš Peškir, Susanne Layla Petersen, Erika Råberg, Clemens Reinecke, Diego Rodriguez, Hiroya Sakurai, Maxine Schoefer-Wulf, Leviticus Shand, Paulius Sliaupa, Nicko Straniero & SYZY GAL O00O, Allison Tanenhaus, Hi Yo To and Sally Waterman.
Featured artists: Amy Alexander, Antonio Alvarado 1938, ARTOLDO – Sara Ferro & Chris Weil (Germany, Italy) with their work Vespertilio Spillover, Gili Avissar 1980 (Israel), Tova Beck-Friedman (Israel), Marie Bismonte, Sarah Bliss, Sandra Bouguerch, Yolande Brener, Matteo Campulla, Isabel Chiara, Wilfried Agricola de Cologne, Abdoul-Ganiou Dermani 1973 (Germany, Togo), Darko Duilo, Kokou Ekouagou, Lori Ersolmaz, Gwendolyn Audrey Foster, Robert Frankle 1965, Musical Friends, Jerry Galle 1969 (Belgium), Johannes Christopher Gerard, Werther Germondari 1963 (Italy), Ian Gibbons, Francesca Giuliani, Stephan Groß 1979, Finn Harvor, Bernhard Hollinger, Dee Hood, Danielle Imara, Ebba Jahn, Shivkumar KV 1982, Katya Kan, Kenji Kojima, Maria Felix Korporal, Igor Krasik, Ulf Kristiansen 1969 (Norway), Ellen Maiorano, Kim Maree, Lino Mocerino, Willow Morgan, Alireza Amin Mozafari, Noviki Studio, Lorenzo Papanti, Muriel Paraboni 1977 (Brazil), Lisi Prada, Jutta Pryor, Amadeu Rodrigues, Luis Carlos Rodriguez, Roger Simian, Ronnie Sluik, Anja Strelec, Sarahjane Swan, Katherine Sweetman (United States), Erick Tapia, Eija Temisevä 1956 (Finland), Alina Tofan, Tushar Waghela 1975 (India), Dawn Westlake, Jacqueline Williams
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...
Curator: Virginia Monteverde | Featured Artists: ARTOLDO – Sara Ferro & Chris Weil with their VR work kaltcaldo (for Desktop, Smartphone and Tablet), Connie Bellantonio, Mats Bergquist, Cristian Biasci, Stefano Bigazzi, Andreas Blank, Julia Bornefeld, Babette Brühl , Andreas Burger, Virginia Cafiero, Stefano Cagol, Francesco Candeloro, Cristiano Cesolari, Max Coor, Miro Craemer, Pier Giorgio De Pinto, Theo Eissens, Brice Esso, Maike Freess, Daniele Galliano, Armida Gandini, Lory Ginedumont, GODISART, Gian Luca Groppi, Tanja Hirschfeld, Fukushi Ito, Friederike Just, Vladimir Kartashov, PierPaolo Koss, Jan Kuck, Raquel Maulwurf, Giuseppe Negro, Davide Ragazzi, Fried Rosenstock, Enzo Rovella, Anne Schubert, Niels Schubert, Daniele Sigalot, Nina Staehli, Günter Stangelmayer, Marco Tagliafico, Anne-Claire van den Elshout, Aaron van Erp, Johannes Vetter, Alessandra Vinotto, Alessandro Zannier, Stefano Mario Zatti, Maya Zignone...
Curator: Carla Tocchetti | Featured Artists: Luisella Abbondi, ARTOLDO – Sara Ferro & Chris Weil with their AR work Otium & The City (for Smartphone and Tablet), Alberto Baj, Doriam Battaglia, Germana Bedont, Stefania Benedetti, Claudia Beulke, Roberto Biondi, Maria Donata Bitondo, Maria Teresa Bolis, Anna Buono, Lorena Calligola, Francesco Cucci, Franca D’Alfonso, Hanna Fitsner, Anastasia Golubova, Carlo Mauri, Marzia Mauri, Elisabetta Meneghello, Leda Michelini, Tiziana Mucchiani, Oscar Pennacino, Elisa Pina, Davide Romanò, Marcella Rupcich, Edoardo Spolidoro e Mara Zuliani. Special guest: Adrian Novakov
Curator: Alessandro Allocco | Featured Artists: ARTOLDO – Sara Ferro & Chris Weil with their Virtual Reality installation Zoroaster Superstar VR (for Desktop, Smartphone and Tablet), about Zoroaster: Friedrich Nietzsche, David Bowie (Ziggy Stardust), Freddie Mercury (Queen) and Il Casanova di Federico Fellini feat. Nino Rota.
Stardust Zoroaster Superstar: Zaradast Zerdust Zerrdast - In Zarathustra We Trust
ARTOLDO's artist statement: From the epochal 'And Thus Spoke Zarathustra' onward, his descent from the mountain of the most inapt prophet has not been halted, actualizing at every turn, where pop icons like David Bowie aka Ziggy Stardust have projected the prophetic Nietzsche into the new millennium, unsuspected Zoroastrians like the missed but already more than real Sir, Queen of the Night and King of Queen, the rock star Freddie Mercury with his stage costumes and emblematic lyrics manifested arcane symbols of his faith unbeknownst to a worldwide audience, undisputed geniuses such as Federico Fellini and Nino Rota in their interpretation of Casanova, spasmodic master in all the most sublime arts and adept of the Magician of the Magi, created new worlds traversed by that magic that both each in his own exquisite way and at the same time bewitched and inspired. Worlds that the ARTOLDO art collective can now bring to life in a virtual reality, inviting you to travel through Bowie's universe, Mercury's spiritual stage and Casanova's fantastical and magical Venice to discover there not only holograms of these gigantic personalities, but also messages concealed in brands such as Tesla, Mazda, Zadig & Voltaire and other references to Zoroastrianism as the cultural matrix religion of so much of what exists.
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. Both in the desktop version where you orient yourself with the mouse (wheel and buttons), and in the smart/tablet version where you move by touching the screen with your fingertips, moving around will change the horizon line along with the view of the solids and polygons that populate it and host the videos that randomized will all be shown in different environments and landscapes. The virtual reality installation itself is online/offline (although it works with the Internet) but this can also be implemented to work with site-specific dynamics. So, anyone anywhere can access it either from a PC/MAC/LINUX or from a phone (and tablet). A video with sequence plans and montages of images from the synthetic worlds can be read as a preview or stand-alone work for those occasions and situations when one will want to dispense with the actual VR experience. Another video shows the loops in full-screen version, so that one can get a close grasp of their peculiarities. 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.
The group exhibition includes 80 works on paper and limited-edition fine art prints. The collection is presented to the public as a collective installation in special exhibitions and events and as a side event in international installations and exhibitions.
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.
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 War of Liberation from Nazi-Fascism, between Sept. 3, 1943, and May 2, 1945, that is, from the Cassibile armistice between Italy and the Allied forces to the entry into force of the surrender of the German troops in the Italian theater of war, about 11,400 Italian military personnel, 44,720 partisans and 9,180 children, women and men lost their lives passed to arms and slaughtered at the hands of the retreating German armed forces. The virtual installation configures a place / non-place of remembrance for the Italian victims of Nazi-Fascist reprisals who to date have not received adequate justice, especially from the German side, due to the failure to recognize the verdicts of the Italian courts with jurisdiction over the matter beyond the Alps, depriving the criminals of due process and denying the victims full human justice.
Synthetic memorial metaphorically and virtually recontextualizes Berlin's "Memorial for the Murdered Jews of Europe" in a backdrop that reunites concluded within itself many Italic, Alpine, pre-Alpine, mountainous, mountainous, valley, Po Valley, metropolitan landscapes razed to the ground, as sharp as the Apuan Alps. Reddish glows, luminescent red echoes from the sky behind the mountains, dead sun, taken its place by martial, Martian, war-mongering Mars'strals. In an electronic timeline reminiscent of a maze of horror, visitors have the opportunity to ascertain war crimes province by province using smartphones/tablets/PCs and thus get an idea of the immense number of summary executions against the Italian civilian population. Virtually entering via motion sensors into the desolate landscape of the gravestones and plaques of the massacres.
Mountains no longer green but scorched earth colored machine-gun gray, washed away by oxidized lava, stand granitic against a sky where the Sol is no longer Levant, Ro-Ber-To Cyano(tic), Schwarze Sonne, Black Sun no longer sets the light that is magma, colored Resistance, colored Spring that will return. But meanwhile General Winter, once more in history, operations suspended, pretended is the long frost, the long goodbye, bella ciao. Mount O Sun in Montesole, Alba took it in two thousand on October ten and lost it in two hundred on November two of the year 1944. Vigila O Red Star, protect from those madmen who are exterminating the people around the partisan formations in the rear with the Allies stopped on the Gothic Line. Lapilli of tears roll down the valley, pouring rain bounces off rubber walls, it snows on the plains, there the factories ablaze with revolutionary fury, blackened with deportations and soot. Reprisals flush, leave, raise, tokens topple, totems and taboos of war, almost an air raid that is instead of ground troops, terrestrial, too terrestrial, human, too inhuman, with good peace to Nietzsche.
The cowardly adit whereby with impunity the invaders tried to justify their trail of bloodshed, their torrent of deaths, was the far-fetched and vulgar propaganda slogan under the cry of "gang fight" with which they fingered the partisan formations, flankers, sympathizers and so on to assimilate all the population they encountered. "Achtung! Banditen!" they used to write on walls proscribing those targeted village houses, in blatant violations of the norms of criminal and international law and with the sole purpose of terrorizing the population, of taking revenge for what was perceived on the German side as a change of front and in the deadly logic of race ideology, of the conquest of living space precisely for that race believed to be Aryan and the disfigurement of everything that was not Germanic. Often and gladly with the help of republican or first-hour fascists, vintage, damned Sant'Anna, overkill in Stazzema, overkill by the hundreds overkill in the Fosse, Ardeatine and many others.
And so, with the mournful sense of the tragic that separates us from those events, we retort to the shamelessness of the real bandits, the occupying executioners, and their nerve to call others bandits, with a question mark standing for disbelief and an exclamation mark standing for indignation. Unfortunately and paradoxically of the rest, at a certain degree of cowardice certain gestures become truly unbelievable, so much so that they are removed and once forgotten leave room for maneuver for the affirmation of their denial, as in fact and surprisingly we witness today with the explosion of denialism even in the minds of previously unsuspecting individuals. Disbelief under the sign of the banality of evil, nothing new under the sun affects traceable to the series of horrors perpetrated in the name of that egritude of the spirit that historically and historiographically is called Nazifascism.
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.
Featured Artists: ARTOLDO - Sara Ferro & Chris Weil with their work VE®NICE69, Indrani Ashe, Zha Babaieva, Sarah Boulter, Kannetha Brown, Tara Campling, Darkreconstruction Kiki Febriyanti, Brittonie Fletcher, Lauren Grudzien, Charmaine de Heij, Kate Jessop, Eili Bråstad Johannessen, Cara Kuball, Molly Leebove, Melanie Light, Marija Lucic, Aubane Berthommé Martinez, Ana Minujin, Monika Estrella Negra, Samera Paz, Olivia& Madeleine Peters, Jess Pittman, Jenny Plante, Colette Pomerleau, Shay Revolver, Allison Tanenhaus, Oona Taper, Kristina Tokar, Eva-Maria Unglaube, Maria De Paula- Vázquez, Juliane Vowinckel, Vincy Wang, Keren Zaltz.
A visual game of "telephone"
The game rules:
-Artists received an image or micro short and then made an image or micro short in response to the piece they received.
-Artists had a week to respond.
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.
Featured Artists: ARTOLDO - Sara Ferro & Chris Weil
From the series Natura Morta - Yet Still Life
DEAD as a DODO
The ultimative taxidermic mausoleum:
A permanent online exhibition for Dodos, Stuffed Shirts and other reactionary folks Quit ultraconservative die-hard taxidermia Embrace revolutionary movements and REVOLT ONLINE!
Restfully on Screen - Interact with the dead and preview the afterlife of ancient regime and capitalism.
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.
Featured Artists at THE ROOM Contemporary Art Space: Micaela Aljovín . Perú | Cecilia Álvarez . Mexico | Maria Aparici . Spain | ARTOLDO - Sara Ferro & Chris Weil . Italy / Germany (with their works AT MOre SPHERES, Timor Panicus and TempoRally | Hugo Auler, Jr . USA | Iva Bialopiotrowicz . Poland | Erwin Blase . Germany | Bea Blousson . Argentina | Cristie Boff . Italy | Daniel Cevallos Andrade . Ecuador | Kg Augenstern Christiane Prehn and Wolfgang Meyer . Germany | Elena Cichetti & Su Türktekin Özdemir . UK | Elisha Nadene Clark . Australia | Narelle Delle Baite . Australia | Sonia Dias . Brazil | Andreas Ender . Austria | Elena Gastón Nicolás . USA | George Houndalas . Greece | Andrea Kanishi . Japan | Irina Kassabova . Bulgaria / USA | Dmytro Kataiev . Ukraine | Kojun . Japan | Alexandra Kordas . Germany | Don Kosta . Germany | Sybille Lampe . Germany | Gudrun Latten . Germany | Haerim Lee . USA | Lorenzo Li Greci & MetGen . Finland | Lisha Liang . China | Liz Stubbs & Penny Treese . USA | Donglai Meng . China | Fares Micue . Spain | Gera O’Shio . Switzerland | 12PM . Italy | Gianluca Pollini . Italy | Renée Rauchalles . Germany | Molly Richards . UK | Zizi Rincolisky . Belgium | Rh+ Rodenhäuser Holstein . Switzerland | Yolanda Santa Cruz . Cuba | Tomas Savrda . USA | Greta Schnall . Germany | Kathrin Schweizer . Switzerland | Gary Setzer . USA | Gabi Simon . France | Maria Stamati . Greece | Lorna Stovall . USA | Zazu Swistel . USA | Aram Tahmasebi . Iran | Chih-Fen Tsai . Taiwan | Sanja Vatić . Slovenia | Irene Venetsanou . Switzerland | Gioele Vettraino . Italy | Jane Walker . UK | Shaun Wilson . Australia | Sirui Yang . China | Root Yarden . Israel | Sebnem Yuksel . Turkey | Majda Zorko . Slovenia
Featured Artists at Palazzo Albrizzi-Capello: John Addams . Austria | Claudia Esra Ahrens . Germany | Federico Alcaro . Italy | Micaela Aljovín . Perú | ARTOLDO - Sara Ferro & Chris Weil . Italy / Germany (with their works AT MOre SPHERES, Timor Panicus and TempoRally | Rolf Berte . Germany | Luisa Bianco . Italy | Cristie Boff . Italy | Lia Bottanelli . Italy | Sera Camas . Turkey | Roderick Camilleri . Malta | Simona Capitini . Italy | Caterina Casagrande . Finland | Daniel Cevallos Andrade . Ecuador | Kg Augenstern Christiane Prehn and Wolfgang Meyer . Germany | Elena Cichetti & Su Türktekin Özdemir . UK | Manuela Clarin . Germany | Federica De Francesco . Italy | Damir De Simone . Slovenia | Elizabeth Dillman . USA | Lucas Dinhof . Austria | Drash La Krass . France | Mar (Mar De Color) Enríquez . Spain | Ern(e)st_bettyzola . Italy | Hernan Escobar Saatdjian . France / Venezuela | Elena Gastón Nicolás . USA | Jasmin Genzel . France | Ozge Gurkan . Turkey | Nelya Hapchyn . Spain | Kip Harris . Canada | Sebastian Hoyos . France | Layla Jaleel . Germany | Nick Kacic-Miosic . USA | Katya Kan . UK | Alexandra Kordas . Germany | Lawrence Kwakye . The Netherlands | Karl Weiming Lu . Australia | John Maki . USA | Christopher Maxwell . The Netherlands | Donglai Meng . China | Marco Metto . Italy | Christina Mitterhuber . Austria | Tiziana Mucchiani . Switzerland | Ágnes Nagy . Hungary | Grant Pace . USA | Vernante Pallotti & Daniele Zen . Italy | Armando Pelliccioni . Italy | Christa Perez Bailey . USA | Valentin Pfeifhofer . Italy | Enrico Pulcinelli . Italy | Zizi Rincolisky . Belgium | Erwin Rios . Austria | Rh+ Rodenhäuser Holstein . Switzerland | Marco Ronga . Italy | Maria Saad . Lebanon | Toril Sæterbakken . Norway | Vittorio Sancipriano . Italy | Michael Schwan . Germany | Kathrin Schweizer . Switzerland | Ege Serin . Turkey | Ximena Sedano . Colombia / Switzerland | Gary Setzer . USA | Nina Stopar . Slovenia | Guillaume Thunis . Belgium | Loona Tirabassi . Italy | Sanja Vatić . Slovenia | Matteo Volonterio . Italy | Yiran (Rachel) Wang . China | Isha Will . Jamaica | Shaun Wilson . Australia | Peter Wirth . Austria | Root Yarden . Israel | Zeynep Yazici . Turkey | Sebnem Yuksel . Turkey | Marina B. Žlender . Slovenia
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.
NELLO SPAZIO FA FREDDO / IT’S COLD IN SPACE is an open multimedia project, investigating the form of the hollow half sphere as a primary symbolic structure of human life at a biological, cosmological, sociological and historical level.
Curators: Giorgio Barbetta, Chiara Caratti, Monica Cattani, Laura Davì, Luca Panaro, Arianna Sollazzo, Ilaria Sponda
Featured Artists: Viola Arduini, ARTOLDO - Sara Ferro & Chris Weil with their work AT MOre SPHERES, Oreste Baccolini, Luka Bagnoli, Elisa La Boria, Matteo Balduzzi, Sara Barberio, Pietro Belotti, Nene Bertoz, Lidia Bianchi, Paolo Bianchi, Steve Bisson, Nadia Busato, Daniele Cabri, Stefano Canetta, Bona Castagnini, Francesca Catellani, Roberto Cavazzuti, Alessandra Cecchini, Loredana Celano, Mara Cerantola, Perry Chan, Michele Corgnoli, Marilisa Cosello, Diana Del Franco, Martina Della Valle, Margherita Del Piano, Giuseppe De Mattia, Alfonso Emanuele, Elena Franco, Claudia Gaudiello, Alessandra Gellini, Gaia Giordani, Davide Glavina, Filippo Glavina, Ilaria Iaquinta, Giacomo Serra, Fiorella Iacono, Giacomo Infantino, Francesca Ruberto, Angelo Iodice, Lea Leroy, Valentina Loffredo, Vanessa Lopes, Paola Lumia, Ambrogio Luzzardi, Giovanni Mantovani, Francesca Marengo, Matteo Martini, Simone Massafra, Marco Menghi, Gianluca Micheletti, Antonio Miucci, Marco Missiroli, Sara Montrasio, Stefania Oppedisano, Luciano Perciaccante, Paolo Pizzagalli, Marisa Prete, Agnese Riccitelli, Antonio Riello, Lia Ronchi, Valerio Rocco Orlando, Saggion-paganello, Angelo Sicilia, Joana Skiavini, Jacopo Stofler, Maura Tagliaferri, Dario Torre, Carlo Trimarchi, Jacopo Valentini, Lorenzo Vecchi, Federico Vespignani, Amanda Vila Carbonell, Mirko Zambelli.
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.
Fine art / Photography / Sculpture
Iran
Curators: Abdolreza Rabeti, Afsaneh Haji Moradi
Featured Artists: (1) Abdolreze Rabeti, (2) Afsoon Ararooti, (3) Ali Khamesi, (4) Arghavan Naserkhaki, (5) Delaram Sadeghi, (6) Elahe Faraji, (7) Elham Noori Monem, (8) Faezeh Shojaie, (9) Farzaneh Tayebi, (10) Fatemeh, Mozhdeh, Hasani, (11) Fatemeh Rezaei, (12) Ghazal Alavi, (13) Hamid Tajlifard, (14) Mahdie Dibaee, (15) Mahmanzar Peiravi, (16) Maliheh Rahmani, (17) Marjan Niyati, (18) Maryam Sheikhbahaei, (19) Marzieh Namdar, (20) Mehdi Daneshvar, (21) Mehdi Mahakipour, (22) Mehrangiz Talaiezadeh, (23) Mozhgan Imani, (24) Pegah Bavarsad Ahmadpour, (25) Sahar Eskandari, (26) Sakine [Sahar] Hosseinzadeh, (27) Sedigheh Parisa, Ghasemi Javeh, (28) Sepideh Hajebifard, (29) Shaghayegh Mashhadai Farahani, (30) Shohreh Esmaeili, (31) Sonya Pedram, (32) Yousef Khorrami
Germany
Curator: Aksana Yakimova Steffan
Featured Artists: (1) Aksana Yakimova Steffan, (2) Anastasia Klinger, (3) Anna Nilova, (4) Ara Avetisyan, (5) Arnav Raj Singh, (6) Gerhard Bauer, (7) Gunter Schmidt, (8) Irene Schneider, (9) Klaudyna Kiełek, (10) Lana Strothkamp, (11) Marijana Vukovic, (12) Niemann Oksana, (13) Sandra Rafaela Seiler, (14) Sebastian Lutz, (15) Simonette Schmalz
Italy
Curators: Alessandro & Damiana Allocco
Featured Artists: (1) Angela Betta Casale, (2) Eroverety, (3) Fernando Monta’, (4) Lucia Orlando, (5) Maria Erovereti, (6) Mariella Bogliacino, (7) Marta Valls, (8) Maurizio Limongelli, (9) Riccardo Surace, (10) Rosa Sorda, (11) Samuel Dossi e Marta de Lorenzis, (12) ARTOLDO - Sara Ferro & Chris Weil with their work Mascara Cartridge Déjà War
Featured Artists: Barry Anderson, ARTOLDO – Sara Ferro & Chris Weil with their work WhimSeaCall, Denise & Gordon Asti, David Baumflek, Magdalena Bielesz, Kayla Cantu, Camilo Cárdenas, Methas Chantawongs, Marcos Bonisson & Khalil Charif, Hyejung Choi 최혜정, Jonghan Choi 최종한, Lisi Prada & José Cruzio, Julia Dorobinska, Rudolf Han 루돌프 한, Michael Hazani, Hyunseok Jeong 정현석, Tacie Jones,Avdi Hajdari-KAME, Marina Landia, Jinsoul Lee 이진솔, João Cristóvão Leitão, Justin Lincoln, Hugo Ljungbäck, Hyeyoung Maeng 맹혜영, Miodrag Manojlovic, Shahar Marcus, John O’Donnell, Melissa Pareja, Susanne Layla Petersen, Éanna Mac Cana & Moon Paw Print, Hande Sever, Elena Stelzer, Lisa Tolstyka
Artoldo pushes the boundaries of visual storytelling. With a passion for innovative Avant-garde cinema, Moving Images Arts and New Media, their portfolio includes a diverse range of works, such as AI Art, Crypto Art, Digital Art, Experimental Films, Feature Documentaries, Immersive Experiences [AR / VR / XR], Net Art, Sound Art and Video Art.
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