Vincenzo Fiore Marrese Art Portfolio: Exploring the Intersection of Art, Science, and Critical Theory

Explore my portfolio below or download the PDF version (17.4 MB) for convenience. Alternatively, download the high-resolution version (90.9 MB).

Artwork Burning Environment

I found a broken sculpture with two human heads in a rural area. This sculpture inspired me to create a work about sharing a vision.

A weathered concrete block in a dry, grassy landscape with scattered rocks and burnt vegetation — “Burning Environment,” 2024; environmental art; the artwork was almost entirely burned during a fire and later activated by a time-based action with Sandra Chrzanowski, Andries De Lange, Luïza Luz, and Andrea Mineo; concrete pillar block, natural found objects (animal skulls, animal vertebrae), natural raffia; 68×77×31 centimeters; 26.77×30.31×12.20 inches; contrada la Strada, Butera, Caltanissetta, Italy; Terraformation art residency, curated by Mayer Pavillion, with the support of Farm Cultural Park; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing. Download via Alternative Link.

Ethical Statement: Animal bones are respectfully included to raise awareness of our complex ecosystem. This work does not reference any cultural or religious practices.

Learn more about this artwork, “Burning Environment.”

Artwork Deep Mapping Unstable Habitat, the process involves secret ritual collaboration

I once got lost in a snowstorm in a rural area. I met only one person, but we spoke different languages.

Paper bag, partially covered in burned vegetation, spilling gray powdery substance onto the ground. — “Deep Mapping Unstable Habitat (also known as Deep Mapping Instable Habitats),” 2024; deep mapping; deep map, the process involves secret ritual collaboration; wheat paste (handmade with flour and water), found object (trashed bread paper bag), burned vegetation, ashes; 24×29×5 centimeters; 9.45×11.42×1.97 inches; Palazzo Tortorici, Farm Cultural Park, Mazzarino, Caltanisetta, Italy; Terraformation art residency, curated by Mayer Pavillion, with the support of Farm Cultural Park; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Deep Mapping Unstable Habitat.”

Artwork Burning Shadows

Inspired by ecological disturbance, this work delves into the instability of rules governing both nature and society.

A wall with white tiles and a gray concrete beam above. Three vertical strings of twine hang down, one with a bundle of twigs attached. A long, dark object hangs down on the right. — “Burning Shadows,” detail, 2024; installation art; chunky yarn, found object (fire extinguisher), natural raffia, double sided tape; 68×77×31 centimeters; 250.79×140.16×109.84 inches; StadtWERKSTATT Friedrichshain-Kreuzberg, Berlin, Germany; Terraformation: Bridging worlds, curated by Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Contextual Relationship: For the complete context, please refer to “Burning Environment.” This work, titled “Burning Shadows,” follows “Burning Environment.”

Learn more about this artwork, “Burning Shadows.”

Artwork Love Potion

Seeking information on wild plants, we went to the public library. We borrowed a book on the topic with an unexpected magic recipe.

Close-up of a group of ants crawling on a white powdery surface. — “Love Potion,” 2024; time-based art; video formatted as an MP4 file; 1920×1080 pixels; Terraformation art residency, curated by Mayer Pavillion, with the support of Farm Cultural Park; still by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Love Potion.”

Artwork Diverging Waves

Diverging is the opposite of converging. It happens when ideas, people and waves take different paths and things begin to differentiate.

An artwork made with raffia featuring a framed x-ray of a bird and an object made from branches and metallic enameled wire. — “Diverging Waves,” detail, 2024; assembled sculpture; born from an unexpected collaboration inspired by branches left by a bird on my windowsill; the artwork was activated in a theater’s black box, a human-sized camera obscura, accompanied by music from Planatia and words by Vincenzo Fiore Marrese; natural raffia, original bird x-ray, non-directional metallic enamelled wire, coloured polypropylene packing tape with acrylate adhesive, branches; 336×134 centimeters; 132.28×52.76 inches; Theater Expedition Metropolis (ExMe), Berlin, Germany; Die Höhle_festival (photo taken in the studio); photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: This artwork arises from a respectful collaboration with nature, inspired by branches left by a bird on my windowsill. The x-ray, a found object, serves as a reminder of the natural world, honoring its contributions without appropriation.

Learn more about this artwork, “Diverging Waves.”

Artwork Subtle Symbiosis

After working on my “subtle habitat” idea in a courthouse and a car workshop, I turned it into a larger-scale outdoor art project.

A small pond surrounded by grass and trees, with a cloudy sky in the background. — “Subtle Symbiosis,” 2024; art environment; ‘subtle habitat’ made by ‘unstable components’; 72 stones, coir tree-tie rope, natural raffia, coconut coir humus mix, jute climbing plant netting, coco coir pellets, holes dug by a canine, jute fleece raised bed mat, natural found objects (branches, animal skull, animal spine, pinecones), natural environment (soil, pond, roots, landscape, soil composed mainly of sand), artificial found objects (metal band, rusty metal disc, gravestone fragment); 140 square meters of outdoor area; 1503.6 square feet of outdoor area; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: This artwork integrates found animal bones, carefully moved but returned to their natural surroundings. The piece also incorporates holes dug by a canine, left untouched in their natural condition. The artwork aims to raise awareness of our complex ecosystem. It celebrates natural animal behaviors respectfully, emphasizing non-appropriation of these elements and refraining from referencing any cultural or religious practices.

Learn more about this artwork, “Subtle Symbiosis.”

Artwork Coincidence, this artwork involved an unexpected interaction with a canine’s presence

Before starting my environmental artwork, I planned to collaborate with animals.

Aerial view of a large, circular mound of soil covered in small, evenly spaced holes. The mound is surrounded by green grass and is located in a grassy area. — “Coincidence,” 2024; environmental art; this artwork involved an unexpected interaction with a canine’s presence, the materials used in this artwork will naturally decompose over time; coco coir pellets, holes dug by a dog; 180×88 centimeters; 70.87×34.65 inches; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: This artwork features untouched dog-dug holes, celebrating natural animal behaviors without appropriating them.

Learn more about this artwork, “Coincidence.”

Artwork Ungovernable Memories

Local people told me, “You can find old objects by searching the ground.”

A large, intricate web made of natural fibers stretched between fallen branches in an open, rural field. — “Ungovernable Memories,” 2024; environmental art; natural found objects (branches, pinecones), artificial found object (gravestone fragment), natural raffia, coir tree-tie rope, jute climbing plant netting; 235×168 centimeters; 92.52×66.14 inches; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: This artwork incorporates a found gravestone fragment, moved from the forgotten soil to a prominent place to emphasize the importance of memories.

Learn more about this artwork, “Ungovernable Memories.”

Artwork Land Ethic

I covered the soil with a coconut fabric. It was like covering someone who needed care. Then I put a brick of humus like a pillow.

A pile of sand partially covered by a brown cloth, resting on a grassy area with tire tracks and a red brick in the background. — “Land Ethic,” 2024; environmental art; this artwork will naturally decompose over time; coconut coir humus mix, jute fleece raised bed mat, natural environment (soil composed mainly of sand); 110×200 centimeters; 43.31×78.74 inches; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Land Ethic.”

Artwork Multifaceted Symbiosis

This area reminds me of a seaside because of the presence of water and sand. I bring a large branch that I found nearby, like something that the sea has thrown on the sand.

A shallow ditch with exposed soil and a small stream running through it. The ditch is surrounded by grassy fields and a few trees in the background. — “Multifaceted Symbiosis,” 2024; environmental art; natural found object (branch), artificial found object (rusty metal disc), natural raffia, natural environment (sand, landscape, pond); 1480×300 centimeters; 58.27×118.11 inches; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: I relocated a rusty piece of metal found in a nearby field for my environmental art piece. I did not introduce this material to the landscape.

Learn more about this artwork, “Multifaceted Symbiosis.”

Artwork Bridging Roots Again

There are some big roots fixed in the ground, without branches. I thought: it is easy to cut branches, it is not easy to cut roots.

A structured arrangement of sticks and branches on a grassy field. — “Bridging Roots Again,” 2024; environmental art; natural found objects (branches, animal skull), coir tree-tie rope, natural raffia, natural environment (roots); 150×110×120 centimeters; 59.06×43.31×47.24 inches; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: The animal skull is respectfully included to raise awareness of our complex ecosystem. This work does not reference any cultural or religious practices.

Learn more about this artwork, “Bridging Roots Again.”

Artwork Acceptance or Change

In the nearby forest I followed some animals. The animals ran away, but I discovered some bones in the ground.

A close-up of an animal spine lying on a bed of grass and leaves. The spine appears weathered and worn. — “Acceptance or Change,” 2024; environmental art; natural found object (animal spine), artificial found object (metal band), natural raffia; 356 centimetres in length, 2 centimetres in thickness; 140.2 inches in length, 0.8 inches centimetres in thickness; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Ethical Statement: The animal cord is respectfully included to raise awareness of our complex ecosystem. This work does not reference any cultural or religious practices.

Learn more about this artwork, “Acceptance or Change.”

Artwork Hide-and-Seek

I found several big stones in a field and took them to a pond. It took me a while, but I got it done.

A pile of rocks forming a triangular shape at the edge of a pond. The pond is surrounded by green grass and a few trees. — “Hide-and-Seek,” 2024; environmental art; 72 stones, coir tree-tie rope, natural environment (soil, pond); a triangle shape with dimensions 170×160×115 centimeters and a rope length of 220 centimeters; a triangle shape with dimensions 66.9x62.9x45.3 inches and a rope length of 86.6 inches; Landschaftspark Rietzer Berg, Kloster Lehnin, Brandenburg, Germany; Kunst-Eremitage’s artist residency, Landschafts- und Kunstverein Rietzer Berg; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Hide-and-Seek.”

Artwork ohne alles

I blended Artificial Intelligence and literature with irony and depth.

A round, brown plate with a pile of gray powder in the center. A white book with German text is placed on top of the powder. The text reads: “OHNE ZÄHNE, OHNE AUGEN, OHNE GESCHMACK, OHNE ALLES. SHAKESPEARE ÜBERSETZT VON KUuml;NSTLICHER INTELLIGENZ”. There are shadows of a window on the plate and the floor. — “ohne alles,” 2023; installation art, new-media art; artificial intelligence, found object (wooden table), book, fake book cover, ink, cement powder; 90×90×60 centimetres; 35.4×35.4×23.6 inches; former courthouse, Kalbe (Milde), Germany; 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “ohne alles.”

Artwork Matching Labels

One can accept to divide people according to age. Yet, it can create prejudice and make society less open to creativity.

The word “KIND” is spelled out in nails on a brown surface. The background is cluttered with paint splatters. — “Matching Labels,” 2023; assembled sculpture; metal nails; 100×250 centimetres; 39.3×98.4 inches; former courthouse, Kalbe (Milde), Germany; 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Matching Labels.”

Artwork ohne Bilder

If you put photographic paper in the sun, it will darken, but there won’t be any images.

A red surface covered with white paper scraps arranged in a winding, snake-like pattern. — “ohne Bilder,” 2023; installation art, new-media art; paper box, photo sheets, metal foil, black ink, cement powder; 350×100 centimetres; 137.795×39.3701 inches; former courthouse, Kalbe (Milde), Germany; 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “ohne Bilder.”

Artwork Generationengerechtigkeit

I found ballot boxes in a former courthouse. This discovery expanded my research on age categorisation to include voting rights.

A white, weathered cabinet with a single door ajar stands in a room with peeling, pink-colored walls. — “Generationengerechtigkeit,” 2023; assembled sculpture; ballot boxes, metal tags, crepe paper, scotch tape; 30×30×110 centimetres; 11.8×11.8×43.3 inches; former courthouse, Kalbe (Milde), Germany; 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Generationengerechtigkeit.”

Artwork Von der Kürze des Lebens

Sometimes, we break glass and end up with a cut. Both glass and skin are delicate. Yet both protect.

A framed mirror with the text “VON DER KÜRZE DES LEBENS” written in black marker on it. The mirror is hanging on a weathered wall with peeling paint. — “Von der Kürze des Lebens,” 2023; assembled sculpture; broken glass, wood frame, acrylic painting; 80×60 centimetres; 31.4961×23.622 inches; former courthouse, Kalbe (Milde), Germany; 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Von der Kürze des Lebens.”

Artwork Ich bin dreihunderttausend

If one asks me: How old are you? I would say 300,000 years old, like you, like our species.

An installation art piece featuring a room filled with intricate structures made of white paper and draped with red fabric. The structures resemble architectural forms like arches and columns. Sunlight streams through windows, casting shadows on the walls and floor. — “Ich bin dreihunderttausend,” 2023; art environment; ‘subtle habitat’ made by ‘unstable components’ artificial intelligence, found objects, book, fake book cover, ink, metal nails, paper box, photo sheets, metal foil, cement powder, ballot boxes, metal tags, scotch tape, broken glass, wood frame, acrylic painting, wood, paper, screwdriver, FAX paper, crepe paper, coloured pigments from coloured pencils, old school chair, mirror; 45 square meters room; 484.376 square feet room; former courthouse, Kalbe (Milde), Germany; 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Ich bin dreihunderttausend.”

Artwork Critical Journey

An automobile repair shop becomes an artistic environment, carrying an imaginary journey through advanced technologies and miners’ issues.

An empty industrial space with a red table holding a typewriter in the center. The room features white tiled walls, metal railings, and a large metal door. The text “ALLES IST KRITISCH” is written on the floor. — “Critical Journey,” 2023; art environment; ‘subtle habitat’ made by ‘unstable components’; artificial intelligence, found objects, earth, artificial turf (polypropylene, polyester), acrylic paint, synthetic pigment, ink, electrical tape, tape, silicon sheet, PVC hemisphere, polyurethane foam sheet, laminated plywood panel, metal sawhorses, typewriter, inkjet prints on paper, artificial feathers, twine, acrylic-polyurethane varnish; 50 square meters room; 538.196 square feet room; Adlerhalle, Dragonerareal, Berlin, Germany; “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Critical Journey.”

Artwork Seeking Intelligence

Is Artificial Intelligence a form of collective intelligence? I asked a chatbot to imagine a journey book seeking collective intelligence.

Black and white photo of a weathered silicon sheet mounted on a rusty metal device, hanging against a tiled wall. The sheet contains handwritten text in German: “Empfindsame Expedition Auf der Suche nach Kollektiver Intelligenz von Berlin nach xxxxxx” and a signature. — “Seeking Intelligence,” 2023; assembled sculpture, new-media art; found objects, acrylic paint, silicon sheet, twine; 24×50 centimetres; 9.4×19.6 inches; Adlerhalle, Dragonerareal, Berlin, Germany; “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Seeking Intelligence.”

Artwork Alles ist kritisch

Consumers have a thing for “Nothing is impossible” slogan. I found this slogan in a car repair shop where I displayed my work, “Everything is Critical.”

A photo of an industrial space with a concrete floor and tiled walls. A roll of green artificial turf lies on the floor with the German phrase “ALLES IST KRITISCH” written in white chalk across it. In the background, there is a red sawhorse, a metal pole, and a sink area with faucets. — “Alles ist kritisch,” 2023; installation art; artificial turf made by polypropylene and polyester fibers, acrylic paint; 200×100 centimetres; 78.7402×39.3701 inches; Adlerhalle, Dragonerareal, Berlin, Germany; “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Alles ist kritisch.”

Artwork Lithium

A fake Lithium logo hangs on the wall of an auto repair shop. Lithium is crucial for technology. What are the social challenges of lithium mining?

A grey cloth banner with the word “LITHIUM” written in white, hanging from a string on a white tiled wall. — “Lithium,” 2023; installation art; found objects, polyurethane foam sheet, acrylic paint, twine; 100×50 centimetres; 39.3701×19.685 inches; Adlerhalle, Dragonerareal, Berlin, Germany; “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Lithium.”

Artwork Intersecting Connectivity (Phaethon)

I combined the technologies of the past with the present and the future.

Black and white photo of two people sitting in an old car, taped to a windowpane. Several green strips of tape radiate outward from the photo, creating a starburst pattern. — “Intersecting Connectivity (Phaethon),” 2023; installation art, new-media art; electrical tape, photos manipulated with a computer technique I developed, paper; 148×105 centimetres; 58.2×41.3 inches; Adlerhalle, Dragonerareal, Berlin, Germany; “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Intersecting Connectivity (Phaethon).”

Artwork Substitute

Painters utilized minerals to craft colours, while the industry employed minerals in electronic device production.

A transparent dome sits on a red, star-shaped base with the word “Substitute” written on it. Inside the dome, black and blue powder is divided into two sections. The entire setup is placed on a wooden surface. — “Substitute,” 2023; assembled sculpture, collaborative art; the artwork incorporates soil from a piece by Harris, courtesy of the artist as part of a collaborative creative process; PVC hemisphere, earth borrowed from another artist's work, synthetic pigment, tape, ink; 40×15 centimetres; 15.7×5.9 inches; Adlerhalle, Dragonerareal, Berlin, Germany; “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Substitute.”

Artwork Creating a New Language: Impossible. (et vous êtes)

One shared concept between western art and artificial intelligence is imitation.

A poster with a grid-like layout featuring text and images. The central text reads “Creating New Language: Impossible”. Below, there are numbered sections with text and geometric shapes in black and white. The overall design is minimalist and experimental. — “Creating a New Language: Impossible. (et vous êtes),” 2023; new-media art; text and vector images formatted into a PDF and bound into a book; 45 pages (plus a 15-page version), each measuring 21×29.7 centimetres, 8.26772×11.69291 inches; first showcased at Galerie die 8, Kalbe (Milde), Germany (photo taken in the studio); 11. Internationaler Sommercampus, artist residency, Künstlerstadt Kalbe; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Creating a New Language: Impossible. (et vous êtes).”

Artwork Un mot encore, & je finis

Some years ago, I received a special gift. It is a modern translation of a more than two thousand years ago book about politics and justice.

A white sheet of paper with a bullet hole in the center, surrounded by a dark stain. Handwritten text in black ink reads “LISTEN, I SAY THAT WHAT IS JUSTICE IS NOTHING OTHER THAN THE INTEREST OF THE STRONGER” with a signature below. The paper is clamped between two red and black mechanical clamps. — “Un mot encore, & je finis,” 2023; assembled sculpture, new-media art; artificial intelligence, book, F-clamps, paper, ink, police barricade tape; 20×25×30 centimetres; 7.87402×9.84252×11.811 inches; first showcased at Galerie die 8, Kalbe (Milde), Germany (photo taken in the studio); “11. Internationaler Sommercampus. Werkschau der Stipendiat:innen;” photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Un mot encore, & je finis.”

Artwork Reorder power structures première in three chapters

Can you change the rules of a game using the rules of the game?

Red and white police caution tape is scattered across a wooden floor, with three bird X-rays lying nearby. — “Reorder power structures,” 2022; time-based art, installation art; radiologist Luca Grassi recorded a WhatsApp audio message used as part of the piece; original bird x-ray, light table, book, police barricade tape, found objects, recorded sound, live sound generated by electronic devices in response to body movement, recorded WhatsApp audio message; 35.80 square meters room; 385.348 square feet room; 00:45:00 hours; Liebig12, Berlin, Germany; “preserve memories - provide energy,” second edition; photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Reorder power structures.”

Artwork To make landfall I première

How does fuel transportation affect people and global relations? What questions arise for populations lacking fuel access? How can art address this topic?

A computer screen displaying OpenStreetMap data with a route marked by numbered waypoints. A smaller window shows a chemical structure and an email with the subject “It is a matter of gas.” — “To make landfall I,” 2022; time-based art; the map I used as part of the artwork is an: © OpenStreetMap contributors. Data is available under the Open Database License. The molecola is generated by from Jmol, an Open Source molecular viewer licensed under the GNU Lesser General Public License. The E-mail client is Thunderbird, under Mozilla Public License; video formatted as an MP4 file; 1920×1080 pixels 00:13:17 hours; Galería of the Centro Boliviano Americano, CBA, Santa Cruz de la Sierra, Bolivia; Latitudes Hybridas, Festival Internacional de Performance Art de Santa Cruz de la Sierra, curated by Hector Canonge, Performance Art Bolivia, PABA y ARTerial Performance Art APLAB; still by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese and OpenStreetMap contributors. Contact us for other use or licensing.

Learn more about this artwork, “To make landfall I.”

Artwork Good to eat (fragment)

I suggest examining artworks through the lenses of food studies, ritual, and mythology for a deeper understanding.

A table covered with numerous bird X-rays, including close-ups of wings, legs, and full body scans. The X-rays are arranged in an overlapping pattern. The table is supported by two red sawhorses and set against a white wall with dark markings. — “Good to eat (fragment),” 2023; installation art; metal sawhorse, table, original bird x-ray, police barricade tape, tape, white paper; 80×60×75 centimetres; 31.4×23.6×29.5 inches; first showcased at Galerie die 8, Kalbe (Milde), Germany (photo taken in the studio); “11. Internationaler Sommercampus. Werkschau der Stipendiat:innen;” photo by V.F. Marrese; ©VFMarrese. Click to download HD Image (for press use only). Please credit V.F. Marrese. Contact us for other use or licensing.

Learn more about this artwork, “Good to eat (fragment).”

Vincenzo Fiore Marrese

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