embodies the artwork by
Enrico Floriddia

Born in Catania, Italy, in 1984.
Studies in literature and arts in Sicily.
Photography MA at the École Nationale Supérieure Louis-Lumière in Paris.
Currently Photography teacher assistant at École Européenne Supérieure de l'Image, France.

+33 665740653

His work negotiates with images. It takes them seriously, it doubts of it, sometimes it mocks them. Images resist to the artist's will, they are bend or misunderstood, they get used - as we get used to them. Enrico causes a traffic of fabricated images, of documents and found pictures. Enrico questions the photographic medium, the belief that it is a recording of reality, thus an evidence. Through a series of

Verification is a word that frequently occurs in italian art related to images. Ugo Mulas' Verifiche focused on the medium and its specifications; La verifica incerta edited by Alberto Grifi and Gianfranco Baruchello enlighted structures and frameworks in cinematic industry; my work draws attention on the subjects, therefore on the photograph as a document.
Each verification is made of a series of photographs of one person in one place. They question the idea of photographic evidence; especially in the touristic usage of photography : a person standing in front of a landmark. These pictures by themselves actually do not inform us at all. They are dull, irrelevant, flat. At this point – when the photograph stops being readable – we start to question what we are looking at.

Mia Zia Fiorella (2011)
A5, 16 pages, sewed.
color laser print on 80gr recycled paper
unlimited edition

францесца (photographs by Silvia Cesari, 2013)
A5, 16 pages, sewed.
color laser print on 80gr recycled paper
unlimited edition

Louvres (2013)
A5, 16 pages, sewed.
color laser print on 80gr recycled paper
unlimited edition

, he challenged the readability of photographs taken away from their context. In
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.

he 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.
A body of work deals with documents of architectural matters.
Tout doit disparaître

Everything has to disappear – typical French expression for sales

Since a couple of years, I systematically record the restoration campaigns of architectural heritage. I started in Paris and I am slowly moving further.
I always use the same protocol: every photograph is taken on large format, in black and white before the sun rises. In an obtuse way, I apply an obsolete method to a subject which is at the same time current and anachronistic. It is the best fitting way to face this erasing work: any flaw, any sign of deterioration, any dirty layer is taken away.
I didn't want to record the clean and bright surfaces of the palaces, I rather prefer to photograph the scaffoldings. These silent presences – with their opaque and geometrical shapes – avoid to see the buildings' decoration.
Like Eugène Atget did with the old Paris, I produce some “documents for artists” in an obstinate and naive way; not to keep the traces of the ancient which is substituted by the modern, but to record these technological architectures – sometimes minimalist, sometimes spectacular – used to keep the ancient in place.
This restoration work is endless: thus, I will keep on document the dialogue between these white geometrical scaffoldings and the fine details of the façades.

60x80cm framed black and white prints

scaffolding2015 006 scaffolding2015 005 scaffolding2015 004
is a naive try to document ephemeral architectures, while
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.
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.
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. is keen to do art collaboration and collective projects, get in touch.

About this website

Creative Commons License Enrico Floriddia
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Built with: Stacey
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