Where are we now? Where are we within the history of this site?
The installation represents a state/moment in the life of the Filanda factory building—an in-between period in its history, from a factory to a future creative hub. An ephemeral non-space between the two purposes. Two walls facing each other highlight what it was and what it will be. On one side, the walls that surrounded the plant when it was in service during its production times first as a silk, and after as a paper factory. On the other side, the walls, which, according to today’s plan, will be constructed later on for its new use, dividing the main hall into smaller enclosed spaces.

At present, I am working on a research format based on simple principles and study cases. My process revolves around local materials, community engagement, and site-specificity. Through my research practice, I have built the first installation (study case) in Denmark, the second in Finland, and here at Villa Filanda Antonini, the third implementation of my research practice:

Sustainable Art Practices: Towards a Socio-Ecological Methodology Within Site-Specific, Land, and Installation Art.

It questions normative artistic approaches, focusing on the use of local, sustainable materials, vernacular tools/techniques, and community engagement through workshops. Sustainability must be an integral part of the creative process, with site-specificity as the core, involving a comprehensive understanding of the local environment, history, and identity.

During the project at VFA, the production of the artwork focused on the use of local resources, such as soil, sand, wood, and straw, through a traditional Venetian wattle and daub technique: “Arella porta-intonaco”. The creation of the artwork was based on a workshop and multiple following production days involving many people between friends, field experts, and local entities. The support of several local figures was crucial to the success of the project.

Project supported by the Danish Art Foundation and Culture Moves Europe
Materials: Fabio Giacomin (straw), Alan Bergamo (wood and soil), Iride (repurposed wood)
Team: Isabella Breda (specialist in clay and plaster finishes), Giulio Feltrin (VFA), Eliisa Korpijärvi (VFA), Giulia Mela (VFA), Eva Malacchini (VFA),  Abou Faye, Andrea Degan, Anna Maculan, Davide Genovese, Edoardo Battaglia, Franco Marini, Giovanni Borsato, Giovanni Visentin, Luisa Comisso, Tiziano Signorato

Where are we now? Where are we within the history of this site?
The installation represents a state/moment in the life of the Filanda factory building—an in-between period in its history, from a factory to a future creative hub. An ephemeral non-space between the two purposes. Two walls facing each other highlight what it was and what it will be. On one side, the walls that surrounded the plant when it was in service during its production times first as a silk, and after as a paper factory. On the other side, the walls, which, according to today’s plan, will be constructed later on for its new use, dividing the main hall into smaller enclosed spaces.

At present, I am working on a research format based on simple principles and study cases. My process revolves around local materials, community engagement, and site-specificity. Through my research practice, I have built the first installation (study case) in Denmark, the second in Finland, and here at Villa Filanda Antonini, the third implementation of my research practice:

Sustainable Art Practices: Towards a Socio-Ecological Methodology Within Site-Specific, Land, and Installation Art.

It questions normative artistic approaches, focusing on the use of local, sustainable materials, vernacular tools/techniques, and community engagement through workshops. Sustainability must be an integral part of the creative process, with site-specificity as the core, involving a comprehensive understanding of the local environment, history, and identity.

During the project at VFA, the production of the artwork focused on the use of local resources, such as soil, sand, wood, and straw, through a traditional Venetian wattle and daub technique: “Arella porta-intonaco”. The creation of the artwork was based on a workshop and multiple following production days involving many people between friends, field experts, and local entities. The support of several local figures was crucial to the success of the project.

Project supported by the Danish Art Foundation and Culture Moves Europe
Materials: Fabio Giacomin (straw), Alan Bergamo (wood and soil), Iride (repurposed wood)
Team: Isabella Breda (specialist in clay and plaster finishes), Giulio Feltrin (VFA), Eliisa Korpijärvi (VFA), Giulia Mela (VFA), Eva Malacchini (VFA),  Abou Faye, Andrea Degan, Anna Maculan, Davide Genovese, Edoardo Battaglia, Franco Marini, Giovanni Borsato, Giovanni Visentin, Luisa Comisso, Tiziano Signorato