Opening: 19th May 2023

—Guest lecture Nina Canell at 7pm

—Concert of Furtherset at 9pm

Art—Night: 17th June 2023

—2pm: Creative workshop and collective meditation with Sara Bonaventura, visual artist.

—8pm: »Ginestra«, concert by Ava Rasti, Iranian composer, pianist and bassist.

—9pm: »Obsession«, concert by Camille Rieu-Camilleri, French multidisciplinary artist currently in residence at Fabrica.

Tasting of vegan ice cream with Algavenice spirulina produced by Dassie, Treviso.

(he/him) (1998, Japan) ● IG WEB

Asuka Akagawa is an interdisciplinary artist, composer, guitarist, and researcher focusing on bringing fundamental, underlying, and potential social issues to the surface through manifestations of such phenomena and demonstrations of alternative approaches utilising primarily sound as an expressive mean.

»No, amaro è il tormento« is a sound installation aiming to manifest concerns regarding water pollution and underwater noise pollution.

Through the medium of a quadraphonic sound system, the installation seeks to metaphorically express to people the physical and sonic pollution caused by anthropogenic activities. The process incorporates recording underwater sound utilizing a hydrophone and developing a generative algorithm that utilizes motorboat traffic data.

(he/him) (1996, Italy) ● IG

Sensitive to death and the caducity of reality, curious and attracted by the unknown, he is interested in the fragile and mysterious human nature.

Riccardo Androni studied photography at LABA in Florence and attended a 1st level MA degree in MOVIES - Moving Images Arts at IUAV, in Venice. He is currently enrolled in Scuola Cònia.

(she/her) (1995, Italy) ● IG WEB

Giorgia Burzio is an interdisciplinary designer and researcher.

In her work, she translates intangible and ungraspable environmental data into objects, material experimentations, and embodied experiences. She reflects on how design could play a part in mediating our relationship with the environment and the climate. Her approach intersects collaborative and participatory design, speculation and material experiments aiming for an inclusive, accessible and collaborative sharing of knowledge.

She currently works as a Research Fellow at the Department of Design, Politecnico di Milano. She holds a Master’s degree in Design from Konstfack University of Arts (Sweden) and collaborates with FAYD, a digital publishing platform.

»Gardenotopia« proposes a multi-sensorial and speculative vision of a more balanced Venice — lagoon’s ecology relationship. In this yet-to-happen future (or alternative present?) plants and organisms thriving in the lagoon spark new imaginaries of adaptation to the exasperating prophecy:

Is Venice going to sink?

In collaboration with algae, halophyte plants, mussels, water, salt.

(he/him) (1998, Italy) ● IG WEB

Stefano Dealessandri studied at HAW Hamburg majoring in New Media under Prof. Aram Bartholl and at the Bezalel Academy of Arts and Design in Jerusalem.

His practice revolves around the investigation of the environment(s) he is surrounded by, their materiality and inherent »glitches«, gaps, contradictions, and absurdities of the visual and verbal spaces we as users, agents and viewers inhabit. Hereby, the glitch functions as a catalyst for a research in which mainstream and market-driven narratives are investigated, deconstructed and eventually queered or productively refused. His recent projects explore the entanglement of hyper tourism, surveillance capitalism and technology dependence and the way they affect our understanding of public spaces and ecology.

The eco-critical multimedia installation »J’adore Venise« investigates the entanglement of hyper tourism, surveillance capitalism and simulations focusing on the complex socio-ecosphere of Venice.

What happens when tourism becomes the main narrator? When the tourist narrative infiltrates local economies and becomes the main place-making tool? Unavoidably, the temporal and spatial constraints of tourism experience redefine the perception and consumption of a specific site.

As the American artist Ian Cheng states in his book »Live Simulations«, simulations can be understood as a »reality gym« where behaviour, patterns and narratives emerge in form of a choreography so to better understand our own surroundings: behaviour itself becomes material for composition and »Gestaltung«.

In this regard, can we glitch extremist, romanticized and tourist narratives by creating simulated authenticities? Is the virtual consumption of a space a viable, more sustainable alternative? How can we reformulate the extractive narrative of surveillance capitalism through digital tools aiming to give agency back to local citizens, users and narratives?