Vedo la solfatara di Pozzuoli, Napoli, come un portale spazio-temporale, una architettura organica, che fa riflettere sulla fine della funzione culturale dell’architettura come costrutto della dimensione relazionale del sociale. Ora che questa vocazione normativa è quella di una impalcatura seriamente compromessa, domande essenziali e forse anche ingenue, vengono a galla, come ripescate da un sistema percettivo archetipo, per proiettarne il loro potere maieutico con l’intento di scoprire quei nessi che consentano di ripristinare l’autentica facoltà di relazionarci e di trovare il posto giusto nel mondo.

Il disagio che provavo, quel costante soffocare i miei aneliti è semplicemente paura. Paura di attraversare nuovi territori, di scoprire nuove dimensioni.

The discomfort i was aware of, the costant damping down of my yarning is simply fear. Fear to cross new territories, to discover new dimensions.

Il confine labile, indecifrabile tra willing and wanting. Aspettare di veder fiorire la consapevolezza dei miei desideri significa sostare, aspettare, stare ferma ad ascoltare il vuoto. È un pieno che parla a livello vibratorio, che si trasforma in coscienza di esistere. Avere certi desideri e riconoscerli è fondamentale per direzionare la volontà: il willing diventa lo strumento del wanting.

Ethicstv, piattaforma digitale per contribuire a creare le basi di una conversazione sulla sostenibilità etica nella vita quotidiana attraverso la responsabilità del gesto artistico - era articolata su Public Access e settimanalmente aggiornata in 6 non-categorie: Art, Love, Nature, Being, Living, Moving (contenitori in grado di traghettare le diverse prospettive che abbiamo riguardo ai linguaggi).

The Video “Emotional Architectures” 2013, is born from the evidence of a cultural sideslip in the interpretation of love relationships. Until the 90ties to neglect sex was meaning to have a sexual interest for someone else, while nowadays this is not necessarily the case. Jobs have become too pervasive, lack of time and social competition create stress to the point of relegating human relationships to the background and penalizing especially the intimate relationship between couples. I have asked 8 performers to choose a partner to interpret the script I had written imagining the climax during a kind of “standard” couple conversation. I have asked to create the premise for such conversation, and to decide how to go with it.

Intimate relationships are built upon personal assumptions and social imposed roles.  What happens when we stumble upon that synthetic happiness created by roles and see it fake compared to the kind of real and profound happiness we feel when we find ourselves just in a fulfilling present?  When a relationship ends, its history ends, because the story belongs to the two. How far and deep can we go in the interaction with another person without losing our own identity or victimizing the other?

Non sono le parole che portano il senso. È l’ordine che pertiene al modo in cui tu fai accadere le cose nella tua vita. Questo è l’ordine di senso. Finalmente quando i sensi possono contribuire alla creazione di significato, mentre di solito sono quegli agenti preposti solo alla percezione di stimoli esterni.

It’s not words per se that create meaning. It’s the sequence in which things happen in your life which create a feeling that something is the case. At last, senses can contribute to the construction of signification, while they are usually considered only a faculty by which the body perceives an external stimulus.

FWF is first a strategy to manage weather but it is especially designed to manage the research of the awareness of who we are. We are always out of time, in the sense that we are not able to keep up with the present and therefore loose to meet up with what we could encounter and be taken by.

Stream of consciousness: thoughts allowed to free themeselves, superimpose themselves, to be lost and to be found again; the whispering of word.

In a symbolic way, the brain is the ground where the divine seed, once activated, will gradually change the whole human being. It is an involutionary process, not an evolutionary one; it is a descent into the Self. Psyche accepts the challenge to compete against her fears, to project them in order to see them, because she has discovered Eros, the principle of desire which has rejoined her with her will. Gradually what she sees by the pro- cess of unveiling disappears as it becomes integrated. But Psyche doesn’t know this yet. The nervous system is unable to accept the change which can only be received in numbness. This is the myth of Narcissus. And this is the path of Psyche too, but Psyche doesn’t subtract herself from the lack she experiences because she is seduced by it. Her unawareness becomes the strategy to generate her missing part which eventually leads her to the metamorphosis of regeneration. The cost is only the loss of control; because what counts as relevant is inseparable from the perceiver. Our life is a dream. By remembering it we contribute to its creation.