Vincenzo Fiore Marrese

Leipzig, Germany 10th of November - 9th of December 2022

The project space "krudebude" has to leave its current venue. I worked with this space in the past with my piece "Strike". Hence, "krudebude" invited me to be part of the farewell exhibition. For this exhibition, I launched a new artwork, "Aesthetic regulations". It is an installation made of three objects, coming as a development of the environment designed for my piece "Reorder power structures". I used the same police barricade tape plus new material, some slices of wood.

Berlin, Germany 26th, 27th, 28th of May 2022

In the frame of the Performing Arts Festival Berlin, we presented the performance "Achilles and Tortoise". We work as an artistic duo called Kornieieva-Marrese. The artists are Tetiana Kornieieva and me. According to the requirement of the festival, our work was a re-enactment. The première was in Serbia. This re-enactment contains some variations. Tetiana comes from Kyiv, and the re-enactment happens during the Ukrainian-russian war. We entangled the performance theme with her situation and the global issue. During the first show of three, something unexpected happened. Tetiana brought her dog from Kyiv. Watching us performing, the dog starts to bark. She barked for several minutes, interacting, in a sense, with the performance. Indeed, the dog was related to the war and the personal experience of Tetiana. So, in the end, I gently lead the dog onto the stage, closing the performance.

Berlin, Germany 22nd of May 2022

For the closing of the "preserve memories - provide energy" festival, I presented the last chapter, the third, of my work "Reorder power structures". As in the previous two chapters, the action happened inside an art installation built with police barricade tapes, objects, a sports bag, a flower and birds' x-rays. I worked with electronic sounds generated by the movement of my body and music composed by me. I read a marketing book, and instead of turning the pages, I tore them out after reading them.

Berlin, Germany 20th of May 2022

In the frame of "preserve memories - provide energy", I presented a work split into three chapters over three days. I set up an installation artwork in the room close to the entrance as an environment where the artwork happened. I mainly built the installation with several metres of police barricade tape. Furthermore, I use some birds' x-rays as part of the work. Consequently, I involved a radiologist, doctor Luca Grassi. He sent me a recorded message about x-rays via chat that became part of the work.

Santa Cruz, Bolivia 21st of January 2022

"To make landfall I" is the first part of this artwork. I called it a point-of-view performance entangled with walking as an art practice. It implies a kind of video performance and a computer desktop-based performance. Everything happens from the first-person point-of-view of the performer, with the absence of the artist' body in a timeless experience. For art insiders, it is a way to pose questions about the presence of the artist's body and the relevance of the here and now in performance art. For the general audience, it is a way to experience an artwork that could remind cinematography and unveil a creative use of tools that some people use in their everyday life through the computer desktop. I use the format of the voyage, an intense journey. During this journey, the artwork unveils the global issues behind the everyday life issues with creativeness. Likewise, I keep in mind the importance and the seriousness of the subjects, considering life issues from the art point of view. "To make landfall I" is the preamble of a voyage. What affects a voyage? The weather. I love to imagine artists as "tempestarii", people able to unleash storms according to medieval records. I love to imagine creativeness like thunders and hail. According to these records, other people are close to "tempestarii"[1]. These people come from "Magonia", with ships that reach clouds[2]. To start a voyage, I need an observation tower first to see the landscape from a high point of view. A cloud could be the best option. So, like the people of "Magonia", I reached a cloud, called "Wolkenhain". It means "cloud grove", and it is in Berlin in the district of Marzahn-Hellersdorf. From Wolkenhain, I reached a street called Lubmniner, in around 20 minutes by walk. It is roughly the distance between the stop Lubmin Werkbahnhof and the Nord Stream 2 landfall in Lubmin[3], a municipality in Mecklenburg-Western Pomerania, Germany[4]. Part of the performance happens: in Kattegat, the desktop of my computer, and the Internet. Kattegat is my art studio in Berlin. I use software like word processors and email clients in a performative way. I use the Internet in the same way. Likewise, the Internet is the venue of the premiere of this performance.

This work is related to an essay I wrote and released: Marrese V.F. 2022, "Point-of-view Performances" in "Meta.space – Visions of Space from the Middle Ages to the Digital Age", edited by Alfred Weidinger, Fabian Müller-Nittel and Markus Reindl / OÖ Landes-Kultur GmbH, published by DISTANZ Verlag GmbH, Berlin, Germany, 2022, ISBN: 978-3-95476-536-2.

Odžaci, Serbia 5th of September 2021

In the abandoned Motel "Sumice" in Odžaci, Serbia, we presented the first re-enactment of our piece "Achilles and Tortoise" after the première in Novi Sad the day before. We are an artistic duo called Kornieieva-Marrese, composed of Tetiana Kornieieva and me. Compared to the première venue, a gallery in Novi Sad, the space in the Motel was quite huge. That was relevant since we moved into the room simultaneously, very fast and slowly, trying to avoid touching each other. The dust covered the floor. Tetiana drew a question on the dust at the end of the piece.

Berlin, Germany 10th-14th of July 2021

In 2018, I met the artist Tetiana Kornieieva in Riga, Latvia. We were both parts of the same international art festival. In 2019, I met the artist Sophia Moffa in Dhaka, Bangladesh. We were both parts of the same art biennial. In 2021, I invited both of them to Berlin, Germany. We worked together on a collaborative project. It was the festival "preserve memories - provide energy", first edition. From three different cities, Kyiv, Birmingham and Berlin, we worked together during the first phase with online collaboration tools. That happened before the first wave of the pandemic popularized these kinds of workflow. Then we met in Berlin. We realized a five-day festival in a former power plant.

Buenos Aires, Argentina 25th of June 2021

During the pandemic, several art festivals moved online due to safety restrictions. I had a digital commission for a festival in Buenos Aires. My piece happened from Berlin in live streaming. It was a re-enactment of "post performance", a work that I presented for the first time in the frame of the Performing Arts Festival Berlin. The camera that shot the live streaming was the one on my laptop. So I moved the computer up and down while shooting as part of the action.

Kyiv, Ukraine 8th of May 2021

I went to Kyiv at the Institute of Automation, where the artist Tetiana Kornieieva has her art studio. At that time, due to the pandemic, in Germany it was not easy to have live audience performances. In Kyiv, it was possible. So after a long time, I was again face-to-face with the audience. We developed the piece in Tetiana's studio with her and the artist Anton Romanov. We did a workshop together developing some intuitions about our different languages, and then we had the première.

Dhaka, Bangladesh 6th of May 2020

After I participated in the Dhaka Live Art Biennale in Bangladesh in 2019, I was invited in 2020 to participate in a new project called "Bio-Net-Work". The art collective Back ART Foundation organized the biennial in 2019 and "Bio-Net-Work" a year later. "Bio-Net-Work," asked for a digital commission. I designed the artwork like a non-ordinary web application using internet technologies.

Berlin, Germany 19th of February 2020

I presented "People also ask" during "How long is forever #13 featuring Saddiq Abubakar", organised by Künstler, Künstlerin at Poropati, Berlin. It was on the 19th of February 2020. During these events, I experienced poetry readings. So, I decided to put out of the context the idea of the reading. During my action, I read, instead of a poem, a patent. It was the United States Patent related to the "people also ask", a function of Google search engine. This reading was part of the action that was video-, speech-, and audio-based.

Novi Sad, Serbia 7th of September 2019

I presented "Strike" at Galerija SULUV, Novi Sad, Serbia. It was on the 7th of September 2019. The gallery was a white cube, with a big window on the street. The street was quite busy. There was an exchange with the audience of the gallery and people coming outside. The audience was sitting on the sides, and the central area was empty and tall, a perfect place to play with the drone. Because the piece was participatory, the relationship between the child and the local audience, played an important role.

Disclaimer: I publish, with the permission of his parents, the photos with the child. I don't share the name for privacy reasons. I'm fully thankful for his participation.

Leipzig, Germany 22nd of June 2019

I presented "Strike" at Projektwohnung »krudebude«, Leipzig, Germany. It was on the 22nd of June 2019. The project space was small but with several rooms. The child could move the drone in two different rooms. Initially, I was searching for the collaboration of a younger child. It was not simple to find a younger one. To play with the drone, you must have a certain age. A flight object could be dangerous, a game also.

Disclaimer: I publish, with the permission of his parents, the photos with the child. I don't share the name for privacy reasons. I'm fully thankful for his participation.

Prague, Czech Republic 23rd of March 2019

I presented "Body's Law" at Cross Attic, Prague, Czech Republic. It was the 23rd of March 2019. As suggested the name, the place is under the roof of a building. The structure and the material, wood, were fascinating. At the same time could be not simple to manage for a work based on large body movements. The roof is sloped, so you have to manage also the height of the space. The wooden beams offer opportunities to create actions. It looks like you are in a box, and this was so interesting cause the concept of the work is related to the jails. The audience was particularly interested in the topic of veterans. This topic is part of the work cause is related to some phrases that I used. The same has happened in Serbia. During the evening presented the piece three times, one time after the other. It is always useful to present the piece more than one time in the same venue. It offers me the opportunity to create a process. I used a synthetic voice to introduce the concept. It works, but it creates a border. I mean between me and the audience. This border generally does not exist, because I used to introduce the work by myself.

Vernéřovice, Czech Republic 15th of December 2018

I presented "Put it down" at Soulkostel, Vernéřovice, Czech Republic. It was on the 15th of December 2018. Soulkostel was a former church inside a forest, on two floors. A good lighting and sound system equipped the space. I had this deep blue light. The lights were a metaphor of the police lights. I integrated my work with some objects found in the church. I used a couple of large wooden candle holders and some microphone's stands to create an action with the cables. The candle holders were useful as pillars, in a sense, for their sacral function and as support for light and fire. I wrapped the cables around the candle holders. Then the microphone's stands become the understructure to build a net of cables that helped me producing the sounds. So, in a sense, the microphone's stands support sound sources, not from the voice, but the movements of the body. I also used the microphone to explore the sound of the wooden floor, according to my action.

Minsk, Belarus 1st of July 2018

I presented Body’s Law in the Korpus Cultur Center at Minsk in Belarus, in occasion of “Performensk - international festival of performative art in Belarus”. Two days before, in the same cultural centre, I had the occasion to present the topic of the performance during a PechaKucha 20x20. I performed taking special attention on the light, two artificial light sources with a blue tone. The same light condition that I had a test during the shoot of the video teaser.

London, United Kingdom 2nd of May 2018

In the early stage of development, I tested my brand new performance, “Body’s Law”, on a “Freshly Scratched” night at the Battersea Arts Centre in London. It was the first opportunity to present the performance to the audience although it was not in the definitive version. In the spirit of the “freshly scratched” night, I assumed the risk to present the performance at this stage of development, something that normally artists do only with peers. It was a very interesting experience also because the audience seemed to be prepared to attend to a type of live art quite different from mine. So, the features that appeared negative to the audience, are, in positive, the features that for me define a piece of performance art: it is not for entertainment (it is not made for show business), it is not narrative (otherwise it would be theatre) nor choreographic (otherwise it would be dance). In any case, at the end of this experience, I went over to another stage of development and my performance took on a new form.

Bergen, Norway 7th of October 2017

I re-enacted my work "Across the Body" in the former location of the Bergen Academy of Art and Design in Norway. There was an intense natural light in the room. I used my saliva to interact with the drawing signs. Meanwhile, I removed the paper from the floor, modifying the surface shape.

Firenze, Italy 12th of March 2017

I had the opportunity to re-enact my work "Across the Body" in the cloister of the former convent of Sant'apollonia through "La Polveriera" in Florence, Italy. The floor of the convent was intriguing for its cross shape that interacted with my paper sheet. The place is historically meaningful but, at the same time, has an active role in the present.

Pistoia, Italy 9th of July 2016

I had the opportunity to re-enact my work "Across the Body" for the first time at the Luigi Tronci Foundation. It was in the frame of a festival curated by Jacopo Belli and Elena Vannucci. The foundation is devoted to the preservation of musical instruments. Since my piece involved, for the first time, music composed by me, it was the perfect place to show it.