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2017
TRY DIE

2016
Before the name - Manifesta 11
Before the name - MACBA

2015
Before the name - Spazio k/Villa Romana
Precious Stone - Capella MACBA
Precious Stone - Italian Embassy in Berlin
Before the name - Wilkinson Gallery
Fetching Bridges (endlessly)

2013
A copy produced by this process
Our soul is a presence

2012
One day I'll faint to the floor
Chiedi a Orlando (Ask Orlando)
The Sunshine Vineyard (Our Ideal Revolutionary Storm)
---->>Towards the earth

2011
L' Abbigliamento
This is a presage (in - existence)
(Horizon) the youngest phenomena
Assioma della scelta

2010
The birds would sing in the other room
The man under the skin

2009
Socìetas: dalla terra al cielo
Three iced blackboards (part II)

2004
Dialogo in un'ora d'aria

TOWARDS THE EARTH

2012
Performance: (two hours); HD video, 9 mins; C-Prints
Performers: Lucio de Francesco and Enrique

Museo Villa Croce, Genova IT, Tornare per Partire, a cura di Lorenzo Bruni

The work consists in a performance, which was later turned into a video, commissioned for the exhibition Tornare per Partire, inside the Museo d’Arte Contemporanea Villa Croce’s garden. The presence of a fake indigenous man, played by a young actor, deals with the presence of a real one from the West Amazon, who’s been living in Italy for several years. The actor hides himself inside the hybrid garden’s vegetation making his presence barely visible to the public, while the real indio lies down in tranquility under a tree, in front of the exhibition entrance. He talks with people about his native land, and the culture he belongs to. The other one acts like a stranger and talks an invented language. Playing with the concept of “territory”, the work is inspired by the actual persecution of the Amazon Indigenous populations, continuously pulled away, expelled or confined in their own lands. The public is involved inside the work not as an interlocutor but as an essential part, to modify and challenge the development of the whole performance. They are not asked to assume the role of public but to bring the real world inside the act of the performance itself.

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