Born in Sicily in 1984.
Studied Architecture, Modern Literature and Art History at the Università degli Studi di Catania, Italy.
In 2012 I obtained a Photography Master of Arts at the École Nationale Supérieure Louis-Lumière (énsll) in Paris, France.
Between 2012 and 2016, Photography Teacher Assistant at the European School for Visual Arts (éesi) in Poitiers, France.
In 2014 I took part to the Zines of the zone nomad library tour throughout the European continent.
Currently Teacher at Université Paris VIII for the Photography and Contemporary Art MA.
Participant of the Trauma&Revival (Bozar, Pushkin and kim?) and ENGAGE (Viafarini) programmes in 2017.
I am an artist, a researcher, a photographer, a scholar, a publisher, an archaeologist. But above all this, I am a permanent stranger.
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slanted.cc embodies the art practice and research of*
My work negotiates with images. It takes them seriously, it doubts them, sometimes it mocks them. Yet, images resist to the artist’s will, they are bent or misunderstood, they get used – as we get used to them. I am interested in cultural heritage and the nation building process. My work is the site where I confront my point of view on such process to challenge the main narratives that drive it. Digging through planning, cultural policies and archaeological research, I observe the mechanisms that power uses to build national myths. My work causes a traffic of fabricated images, of documents, texts and found pictures that overlaps on these myths and – sometimes – they erode it.*
Have a look to my portfolio.*
slanted.cc is keen to do art collaboration and collective projects, get in touch.*
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Solo exhibitions
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Archaeological horizon Chapter I: an army of expert diggers
Galerie Louise Michel,
Curated by Dominique Truco, text by Małgorzata Grygielewicz
Poitiers,France, September 2017
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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.
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Collective exhibitions (selection)*
Urbs sacra
with Paweł Althamer, Anna Baumgart, Enrico Floriddia, Eric Giraudet de Boudemange, Laura Gozlan, Nikita Kadan, Zhanna Kadyrova, Marwan Moujaes, Artur Żmijewski.
curated by Małgorzata Grygielewiecz and Ann Stouvenel.
Mains d’œuvres,
Paris,France, September 2017
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Table&Review
video Pending / В ОЖИДАНИИ
in the framework of the Tramua&Revival Contemporary Encounters
with Anna Balázs, Dorian Batycka, Enrico Floriddia, Eugene Birman, Jure Kirbiš, Liene Pavlovska, Monika Lipšic, Norg (Nadia and Nick Degtyarev), Vitalij Strigunkov, Pjotr Zherebtsov and Marge Monko.
Workshop curated by Maija Rudovska.
kim?, Riga, july 2017
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Project realised during the Encounters of Young International Photography organised by CACP Villa Pérochon, France.
with Jeannie Abert, Heriman Avy, Antoine Bruy, Rebekka Deubner, Patricia Escriche, Enrico Floriddia, Soham Gupta, Mana Kikuta and Anaïs Marion and Marion Chevalier.
Niort, April 2016.
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installation based on the book Shake hands
Niort, March 2016.
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with Jérôme de Vienne
Art Cella Gallery, Poitiers, June 2015.
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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.
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The Black Box, Mobile Museum of Modern Art, Helsinki, may 2014
EXP12 gallery, Berlin, april 2014
Siva Galerija, Zagreb, february 2014
Nuovo Cinema Palazzo, Rome, february 2014
Espace Confluences, Paris, december 2011
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Everything has to disappear – typical French expression for cleareance sales
60x80cm framed black and white prints
Cinémathèque Française, Paris, January 2013
scaffolding2015 006
scaffolding2015 005
scaffolding2015 004
scaffolding2015 006
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Books and publications (selection)
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History is a teacher we ignore while scrolling instagram, TRACES journal, Polimi, Milan, December 2017.*
Archaeological horizon. Chapter I: an army of expert diggers, exhibition catalogue, Poitiers, September 2017.*
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.
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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.
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Book now, artist book, Poitiers, February 2016.*
Eravamo in Salento e non abbiamo visto il mare
with Silvia Cesari
artist book created in the framework of the In-Cul.Tu.Re. project.
February 2014.
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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
self-published
72 pages, A5
unlimited edition
2014
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Residencies
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A-i-R Austria, KulturKontakt, July-September 2018*
Trauma&Revival residencies, in collaboration with Bozar, Brussels; ZKM, Karlsruhe; Fondazione Pistoletto, Biella; Pushkin Museum, Moscow: EUNIC, Moscow, April 2017; kim?, Riga, July 2017; Bunkier Sztuki, Crakow, October 2017.*
Wroclaw European Capital of Culture 2016, Wroclaw Contemporary Museum, Wroclaw, October-November 2016.*
City of Poitiers Artists’ Studios, artist in residence 2015-2016*
The Encounters of Young International Photography, Villa Pérochon, Niort, april 2016.*
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Collective projects
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bi-, Milo-Térénez residency programme organised with Jérôme de Vienne, May-June 2018.*
ENGAGE, Viafarini, Milan, October 2017.*
EuropeMag, in collaboration with Romain Champalaune, Documenta14 side event, Athens April 2017*
Zines of the zone, touring library of self-published books, European tour 2014.*
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