Vincenzo Fiore Marrese

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Slash-and-Burn Environment

In a rural area, I unexpectedly found a fragment of a sculpture with two human heads.

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©VFMarrese; “Slash-and-Burn 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 Andrea Mineo, Mayer Pavillion, with the support of Farm Cultural Park; photo by V.F. Marrese

Ethical Statement: I found the animal bones nearby, and they will remain in their natural surroundings as part of the environment. The artwork, which incorporates natural raffia and a human-made object, respectfully includes these bones to raise awareness of the complex ecosystem we inhabit. This work does not reference any cultural or religious practices.

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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 more person along the way, but we spoke different languages.

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©VFMarrese; “Deep Mapping Unstable Habitat (also known as Deep Mapping Instable Habitats),” 2024; counter-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 Andrea Mineo, Mayer Pavillion, with the support of Farm Cultural Park; photo by V.F. Marrese

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Love Potion

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

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©VFMarrese; “Love Potion,” 2024; time-based art; video formatted as an MP4 file; 1920×1080 pixels; filmed in the countryside of Butera, Caltanissetta, Italy; Terraformation art residency, curated by Andrea Mineo, Mayer Pavillion, with the support of Farm Cultural Park; still by V.F. Marrese

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Subtle Symbiosis

After developing my idea of 'subtle habitat' in a former courthouse and a former car workshop, I tested it in a large-scale environmental art project.

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©VFMarrese; “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

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. Using natural raffia, human-made objects, coco coir pellets, and other materials symbolizing growth, 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.

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

Before starting my environmental artwork, I planned to collaborate with animals. The question was how to foster this collaboration.

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©VFMarrese; “Synchronizität,” 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

Ethical Statement: This artwork incorporates holes dug by a canine, which remain untouched in their natural condition. Surrounding the holes are coco coir pellets, symbolizing new growth and fostering a connection between humans, animals, and nature. The intention is to celebrate the natural behaviours of animals without appropriating them.

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Ungovernable Memories

Talking with local people, they told me, "You can find objects from the past by searching the ground."

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©VFMarrese; “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

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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.

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©VFMarrese; “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

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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.

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©VFMarrese; “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

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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.

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©VFMarrese; “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

Ethical Statement: I found the animal skull nearby, and it will remain in their natural surroundings as part of the environment. The artwork, which incorporates local vegetation, respectfully includes the skull to raise awareness of the complex ecosystem we inhabit. This work does not reference any cultural or religious practices.

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Acceptance or Change

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

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©VFMarrese; “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

Ethical Statement: I found the animal spine nearby, and it will remain in their natural surroundings as part of the environment. The artwork, which incorporates natural raffia and a human-made object respectfully includes the animal spine to raise awareness of the complex ecosystem we inhabit. This work does not reference any cultural or religious practices.

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Hide-and-Seek

I think of the whole hole as a kind of artwork, which I call "Subtle Habitat." But inside the habitat there are seven independent artworks. This is the first piece I made.

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©VFMarrese; “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

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ohne alles

I blended Artificial Intelligence and literature with irony and depth.

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©VFMarrese; “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

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Matching Labels

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

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©VFMarrese; “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

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ohne Bilder

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

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©VFMarrese; “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

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Generationengerechtigkeit

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

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©VFMarrese; “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

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Von der Kürze des Lebens

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

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©VFMarrese; “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

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Ich bin dreihunderttausend

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

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©VFMarrese; “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

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Critical Journey

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

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©VFMarrese; “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

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Seeking Intelligence

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

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©VFMarrese; “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

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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.”

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©VFMarrese; “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

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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?

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©VFMarrese; “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

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Intersecting Connectivity (Phaethon)

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

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©VFMarrese; “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

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Substitute

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

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©VFMarrese; “Substitute,” 2023; assembled sculpture, collaborative art; the artwork incorporates soil from a piece by Rachel 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

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

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

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©VFMarrese; “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); “Collectiveness In Space,” in the context of Experimentdays Relaunch, in cooperation with Zusammenstelle and Rathausblock, curatorial program Mayer Pavilion; photo by V.F. Marrese

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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.

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©VFMarrese; “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

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Reorder power structures première in three chapters

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

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©VFMarrese; “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

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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?

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©VFMarrese; “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

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Good to eat (fragment)

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

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©VFMarrese; “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

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