embodies the artwork by
Enrico Floriddia

Male, white, born in the eighties from a middle class family in a G7 country.
I do art.
Moreover, I am a stranger. I don’t live any more in the country where I grew up, I fled it because I felt like a stranger there, I wasn’t home. So I had to assume to be a stranger, at least in the new country my oddness was understood. I had an excuse, that kind of excuse that autochthonous give you because of their largesse, because you are shy, because you are tamed.
At the beginning it was clear: my dictionary was poor, my accent strong. After some time I got confident speaking, that’s when troubles start again. Either people not dare to ask, either they are amazed by this foreigner that learnt their precious and difficult language that well. It pisses me off.
What is the first adjective people apply to you? Is it a matter of height, weight, colour of the hair, colour of the eye? Is it the colour of your skin? Is the country you come from? Is it funny, sexy, smiling?
Most part of the people that tells you that you are free are funny, sexy, smiling. They can be. I could as well because I am part of the most privileged population of the world.
Still, I am a stranger.
If you are not a stranger it is quite hard to understand how does it feel like. I am not talking about tourism, be a tourist is a completely different situation. It is temporary and deliberate. Being a stranger is permanent. A stranger is a displaced person, it can be an enigma, it is an incognito. Same people see strangers as a threat.
I am proud of being a threat. I don’t like safeness, I don’t like comfort. This is not about risk and heroism, this is not about having a wild and adventurous life. This is about not feeling home anywhere, this is about permanent instability.
It is about difference.
It is about a situation that allows you to accept loss. It is a situation when you accept the fact that there are many things that you wont be able to understand, and many others that you wont be able to control.
This is about complexity.
To bother is why I do art. To expose oddness is why I do art. To recall diversity is why I do art. Sometimes it takes me to care about beauty, sometimes it takes me to exhibit sorrow.

My work negotiates with images and documents. It takes them seriously, it doubts of it, sometimes it mocks them. Images resist to the artist's will, documents are bend or misunderstood, they get used - as we get used to them. In exhibitions, books and lectures I cause a traffic of fabricated images, of documents and found pictures. I focus on cultural heritage, its manipulation throughout history and nation building.
Tout doit disparaître

Everything has to disappear – typical French expression for cleareance sales

Since a couple of years, I systematically document the restoration campaigns of the European architectural heritage.
It wasn’t necessary to record the palaces’ clean and pristine facades, rather I wanted to fix the scaffoldings to keep a trace of this technological architectures – sometimes minimal, sometimes spectacular – that are put in place in order to let the ancient survive.
The protocol is always the same: every picture is taken with a view camera in black and white film before the sun rises.
In an almost obtuse way, I apply an obsolete method and an old-fashioned language to a subject which is at the same time current and anachronistic.

60x80cm framed black and white prints

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is an ongoing project of documentation of ephemeral architectures.
Senso della visita

The secret of art must, whenever possible, be unveiled
Marcel Broodthaers

It is an assessment. The observation of unexpected presences that undermine decors, that pop up on the marked route.
It's about being fascinated by this machinery working discreetly.
Senso della visita attempts to draw links, to underline the complexity of restoration, display and conservation policies. These domains often graze paradoxes, they face doubts and vacillate on difficult choices. They get layered and build history themselves; they linger between divulgation and deontology.
Showing a work about these issues has to take account of the conventions of the exhibition space. Senso della visita is made of two series of photographs, some motion pictures, pictograms and a brochure. Two pieces from the Jérôme de Vienne collection complete this inventory of elements that could be present or presented in a museum. Through this articulation, I provoke the encounter between different objects and ideas belonging to the same world – moreover I reverse their functions.

Framed photographs, loop videos on tablet, A4 booklet, transparent wallpaper, ready-mades. Variable dimensions.

is a journey into the museum institution and its paradoxical mechanisms. He conceived this exhibition project all among with Jérome de Vienne.
During a residency at Villa Pérochon I developed
Votre idéal

Niort is the fourth financial centre of France: mutual funds, insurance companies, banks and related activities employ about ten thousand people in the department.
My research focused on the image that these companies create themselves: photographic collections, historiographical works and advertising archives are consistent with head offices, emblems located on the territory.
From these elements, I put together an unstable, composite representation of this universe.

Project realised during the Encounters of Young International Photography organised by CACP Villa Pérochon, France.

Photographs under glass, booklets on stands. Variable dimensions.

which deals with the peculiar environment created by insurance companies in Niort, France.

This book is a reenactment of a Mémento de nomenclature géographique published by the Republic of France in 1961.
Fifty-five years lates my only intervention is to invite the readers to tear a sheet apart and send this newy independent page to the Centre for artists’ books where they are gathered and shown.
In 2016 I published fifty-five copies, each following year I will issue one more copy.

is a publication that brings us back in 1961. It has been a turning point to start to look at civilisations outside of Western Europe. It is distributed in collaboration with the CDLA Centre for artist books.
By the mean of layering of archival matters and satellite images, the western point of view on the archaeological site of Palmyra in Syria is questioned in
From horizon to nadir

The ruins of Palmyra are an obsession for westerners. Since the eighteenth century they go there and bring back images. At beginning they were drawings, architectural plans, nowadays the technical images used to assess the archaeological site are satellite images.
Besides the images, there is plenty of travel tales, expeditions accounts, novels.
By superposing images and documents, From horizon to nadir tries to put into perspective these representations keeping in mind the recent destructions occurred on the site. Collapsing old horizontal views and contemporary vertical images: it’s a free fall.

32 plates, looping video. Variable dimensions.

In the framework of Wroclaw European Capital of Culture 2016,
Immigrated pieces

The nine protagonists of this book are objects hosted in Wrocław. They share one thing: around Second World War they have been moved. Or stolen, forged, broken, appropriated, exploited, uprooted.
Their stories tell the History of Silesian people as well, their peregrinations, their difficulties, their shared past.
I visited every place where these stories happened, in Poland or in Ukraine or Italy. I photographed, I collected documents and testimonies: layers overlap, History gets complicated, versions contradict each other.
Immigrated pieces tells these stories in a dialogue between myself and the young city of Wrocław surrounded by her centuries-old memories.

Paperback, 310 colour pages.

gives an insight on the complex History of Silesia.
Dull and ordinary pictures surround us: in
Shake hands

Shake hands is about stock photos, the legal issues connected to them and its imaginary.

Stock photos provide a typology of images the more and more standardised. Their cheap prices and the wide possibilities of its use make them popular and widespread.
Every image is alike, they stack themselves, they get layered. Their production is industrial.

This phenomenon is under control of a complex legal system of contracts which is seldom ignored.
Shake hands tries to underline the importance of these texts written in a technical language and shown with a cryptic page layout.

In this book, the contracts are illustrated by images found in stock photos websites. This association undermines the industrial characteristics of stock photos questioning the specific and unique photographic image.

Incidentally, Shake hands rises questions about gender, ethnic and social representations that are embedded in some of this vernacular photography.

Photographs are meant to be unique: can they resist to this industrial production, to the evenness of meaning, to this overwhelming flow of images?

Shake hands
72 pages, A5
unlimited edition

stock photos are used to illustrate a contract. Disposable images become meaningful through accumulation.
Eravamo in salento e non abbiamo visto il mare

We were in salento, yet we didn't see the sea - collaboration with Silvia Cesari

Grecìa salentina, south of Italy. Some abandoned and fascinating buildings appear in this images. The documentary style is polluted by a silent presence: a figure wearing an orange dress. She's hiding, she adheres to the walls, she's uncomfortable, unexpected. Her presence re-activates these neglected places.

Collaboration with Silvia Cesari
In-Cul.Tu.Re. project.

Artist's book, 24 pages, 70x35 cm, offset, 1500 copies.

8 C-prints laminated on corrugated plastic, 300x200 cm.

focuses on a marginal and forgotten architectural heritage.
Carta bianca

Carta bianca is an interactive publishing installation.
People has the possibility to edit a unique booklet starting from a large selection of images spread out on a table.
Carta bianca needs the activation of the public to exist. It questions the author figure and the photographic language at the same time.
Reproductions of some books left by visitors during the Berlin event at EXP12 follow as documentation of the installation.
Installation specifications:
8x4cm stickers, blank booklets, scissors, markers.

I wanted the images to circulate in a creative context to let people build their meaning. Carta bianca was also implemented in some events during the Zines of the zone european tour. is keen to do art collaboration and collective projects, get in touch.

About this website

Creative Commons License Enrico Floriddia
Web design: Raphaël Bastide
Built with: Stacey
Typefaces: Young Serif by Bsozoo and Whois Mono by Raphaël Bastide