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WIRED Japanese edition
Enhanced Vision
magazine, vol.13, September 2014. (jap)
Fair Game. Martha Buskirk On Networked Photography and Copyright
magazine, summer 2014, vol.52, no.10. (eng)
Leonardo, The Journal of the International Society of the Arts, Sciences and Technology
MIT Press, vol.47, no.4, 2014. (eng)
Mnemoscape Magazine, The Anarchival Impulse
SHOWCASE: Emilio Vavarella, The Sicilian Family
issue#1, 2014. (eng)


Official Catalogue
“ISEA 2015: Art and Disruption”
by Kate Armstrong, 2015, p.73. (eng)
Digital Creativity
Art Space: ACM SIGGRAPH Art Gallery 2014
Routledge, Volume 25Issue 4, 2014, pp.360-368. (eng)
Visual Studies
“Navigating the Operative Image”
Routledge, Vol. 29, No.3, pp. 261-271. (eng)
Official Catalogue
“Memorie: Arte, Immagini e Parole del Terremoto in Friuli”
Text by Andrea Bruciati, Skira Editore, 2016. (ita)
Museo Rimodificato: Art sine Scientia nihil est
Emilio Vavarella: The Sicilian Family
interview by Giulia Meloni for Antoni Muntadas Visual Arts Lab at Iuav University of Venice, 2016. (ita)


Le Monde
“Avez-vous déjà vu les mutants de Google Street View?”
2016. (fra)
(upcoming) Neural
“The Digital Skin Series”
Vol. 55, centrefold, 2017. (eng)
Orizzonti Mobili
by Carlo Sala, Speciale Cultura 6, n.52, 2016, pp.158-160 (ita)
Visual Communication Quarterly
“Portfolio: The Digital Skin Series”
Edited by xtine burrough, Taylor & Francis, v.23, n.3, 2017. (eng)
“Art & Copyright”
n.50. 2014. (eng)


by Monica Bosaro and Emma Stanisic,n.75. (eng)
Official Catalogue
“18th Japan Media Arts Festival”
p.62, 2014. (jap-eng)
The New Aesthetic and Art: Constellations of the Postdigital
Book edited by Scott Contreras-Koterbay and Lukasz Mirocha
Institute of Network Cultures, 2016. (eng)
Behind the Picture
Edited by Aaron Brumbelow, ISSUE02, online publication, p.13, 2013. (eng)
Digital Culture
“18th Japan Media Arts Festival: Digital Meets Culture”
2015. (jap)



Curatorial text
Italian Theory and The Art of Trolling
by Lucrezia Calabrò Visconti. (eng)
WIRED, Italian Edition
Street View, Google abbiamo un problema
2013. (ita)
WIRED, Japanese Edition
Incredible Glitches from Google Street View
2014. (jap)



Curatorial text
ITALIANS ON THE JOB: Inside and Outside an Anarchival Impulse
by Monica Bosaro, 2014. (eng)
Curatorial text
A Question of Stealing?
by Emma Stanisic, 2014. (eng)
Allons Enfant 5
interview by Andrea Bruciati, 2014. (ita)
Parola d’Artista
2014. (ita)
DIVA – Jorunal of The Society for Art and Science
vol.36, 2014. (jap)



Curatorial text
embarrassment party
by Marii Nyrop, 2014. (eng)
Svenska Dagbladet
Smileys kan dölja hur vi känner oss
2014. (swe)



review by Rob Myers, 2014. (eng)
Inside the Emoji Art & Design Show
2013. (eng)
The Huffington Post
Google Street View Glitches Become Beautiful Art
2013. (eng)



The Huffington Post
Emoji Art Reveals The Dark Side Of The Smiley Face
2013. (eng)
The Wilderness in the Machine: Glitch and the Poetic of Error
n.59 – Art, Politics, Technology, 2014. (eng)
Courrier International – Le Monde
Aux frontières du réel
January 2014. (fra)
“Creators: Emilio Vavarella”
by Daniel Bejar, 2014, n.28, p.97. (eng)



Photomediations Machine
The Google Trilogy
2013. (eng)



laRepubblica D
Giovani in mostra
2012. (ita)
Inspired by Google
2014. (eng)
Il Giornale dell’Arte
Bevilacqua iperselettiva
2012. (ita)
La meglio gioventù: Azioni
by Andrea Bruciati, 2016. (ita)



Emilio Vavarella
2013. (eng)
Il bello di ECHO BACK
2014. (ita)
2012. (eng)



NEW MEDIA ART EXPERIENCE: Media digitali, forme e contesti della produzione artistica contemporanea.
Doctoral Thesis in “Comunicazione e Nuove Tecnologie” by Paolo Mele, IULM University, Milan, Italy.
2014-15. (ita)
LAB magazine
The Shape of Information When No One is Looking & Report a Problem
n.6, online + print publication, 2013. (eng)



WIRED Italian Edition
“Mon3y as an 3rror, la mostra di Vasily Zaitsev”
2013. (ita)
The Creators Project
“New Online Exhibition Fuses Money and Digital Art”
2013. (eng)
“Eyebeam Will Show You How To Get Privacy Back From Prism”
2013. (eng)


“Premio Francesco Fabbri per le Arti Contemporanee 2015”
2015. (ita)
The Creators Project
“The Wrong New Digital Art Biennial Brings Together The Best Of The Net”
2015. (eng)
The Creators Project
“Explore an Extraterrestrial Dimension of New Media Art”
2015. (eng)
“Nueva, híbrida y… equivocada”
2015. (spa)
Blanc Magazine
“Report a Problem”
2013. (eng)


GAI Giovani Artisti Italiani: Diario Web
“Il Progetto. L’Invervista. Il Resoconto”
Interview by Valeria Lacarra, 2015. (ita)
Data Improvisations
Official catalogue VISAP’15, p.21. (eng)
“Italiano trasforma bug do Google Street View em Arte”
2014. (por)
Re-Building the Future
“Emilio Vavarella and The Sicilian Family”
Official Catalogue, 2015. (ita-eng)
Celeste Network
Lapsus Prize
Critical text by Marinella Paderni, 2013. (ita-eng)


ETC Media
“La photographie avalée par le numérique”
by Sylvain Campeau, v.106, automne/hiver 2015. (fra)
The Collector Tribune
“Money and Error Online Exhibition of Net.Art”
2013. (eng)
The Japan Times
“18th Japan Media Arts Festival”
2015. (jap)
Official Catalogue – 95ma Collettiva Giovani Artisti
“Emilio Vavarella”
p.50-51, 2012. (ita)
Doing Digital Humanities
Putting the Humanities in Digital Humanities
2013. (eng)




ANIMAL. “Video Interview” 2013. (eng)
SIGGRAPH SCOOP. “Video Interview” 2014. (eng)
MTBS. “Video Interview” 2014. (eng)






“The Digital Skin Series” in Digital Communication Quarterly, edited by xtine burrough, Taylor & Francis, vol.23. n.3. (eng)

Visual Communication Quarterly (VCQ) is an international, peer-reviewed journal of theory, research, practical criticism, and creative work in all areas of visual communication.

ABSTRACT: The Digital Skin Series is composed of self-portraits in which I pose “under the digital skin” of strangers I’ve crossed paths with in the past. To create this series, I first used a 3D scanner to obtain an accurate tridimensional model of my face. Then I used a camera-prototype to acquire HD portraits of strangers. Finally, I applied their portraits to my digital skull as if they were simply an additional layer. The result is a series of photographs where bidimensionality and tridimensionality collide in an intimate and unpredictable way.



“Interview with the Drone: Experimenting with Post-Anthropocentric Art Practice” in Digital Creativity, edited by Stanislav Roudavski, Special issue on Post-Anthropocentric Creativity, Routledge, V.27.N.1. 2016. (eng)

Digital Creativity is a major peer-reviewed journal at the intersection of the creative arts, design and digital technologies. It publishes articles of interest to those involved in the practical task and theoretical aspects of making or using digital media in creative or designerly contexts.

ABSTRACT: The main idea behind the development of the art project discussed in this artistic contribution, called MNEMODRONE, is to have people share private memories with a drone and then use those memories to create an artificial intelligence for the drone. Is it possible for a machine to act based on collective memories? And what kind of memories are people willing to share with a machine? Although there are no definitive answers, I discuss the ideas behind the project: the problem of quantifying non-human forms of consciousness, a model for the drone’s artificial intelligence, and the advantages of a post-anthropocentric artistic investigation. The second half of my contribution discusses the limits of post-anthropocentric creativity and proceeds more speculatively, proposing a theoretical model of metamorphosis that could be useful for understanding technology and also used by artificial intelligent systems to understand humans. My contribution advocates for a creative analysis of future scenarios, both technological and cultural, beyond the boundaries of traditional methodologies. I conclude with a fictional interview that could eventually take place between an interviewer and MNEMODRONE. The interview, although fictional, allows the artwork to speak for itself, and is based on the data collected by the drone in its first year of activities, mimicking its discursive capabilities once the artificial intelligence is fully developed.FullSizeRender (1)

THE GOOGLE TRILOGY: Or How To Play With Google Street View

“THE GOOGLE TRILOGY: Or How To Play With Google Street View” is my theoretical contribution for Behind the Smart World: Saving, Deleting and Resurfacing Data, edited by Linda Kronman and Andreas Zingerle, Linz, Austria (eng)

The book is part of the AMRO Research Lab 2015, published by:; process coordinator: Us(c)hi Reiter; layout by: It includes essays by Fieke Jansen (Tactical Tech), Ivar Veermäe, Emilio Vavarella, Leo SelvaggioMarloes de Valk, Research Team “Times of Waste”, Stefan Tiefengraber, Dr. Michael Sonntag and interviews with Audrey Samson and Michaela Lakova. The publication is available both analog as a printed book and digital in form of a pdf, an epuband a web version.


Fieke Jansen – Tracking & Data brokers
KairUs collective – Behind the Smart World ArtLab  – artistic strategies to deal with resurfacing data
KairUs collective – Strategies of Net-activists against constant resurfacing of phishing websites and fake businesses
Michaela Lakova – Deleted file information is like a fossil …
Audrey Samson – Digital data funerals
Leo Selvaggio – Surveillance, Mcluhan, and the Social Prosthesis:  Examining the Construction and Presentation of Identity
Michael Sonntag – Third Person Data
Stefan Tiefengraber – Technology-based Art and Destruction – Exhibiting Malfunctions
Marloes de Valk – What remains? The way we save ourselves
Emilio Vavarella –  THE GOOGLE TRILOGY
Ivar Veermae – Center of Doubt



“Art, Error and the Interstices of Power” in CITARJournal – Journal of Science and Technology of the Arts, edited by Jorge Cardoso, vol.7. n.2. December 2015. (eng)

The Journal of Science and Technology of the Arts (CITARJournal) is a peer-reviewed publication that results from a commitment of the Research Center for Science and Technology of the Arts(CITAR) to promote knowledge, research and artworks in the field of the Arts. The Journal provides a distinctive forum for anyone interested in the impact which the application of contemporary Science and Technology is having upon the Arts. The Journal is published by the Portuguese Catholic University, under an open access policy.

ABSTRACT: The artistic use of error has a long history, and this essay attempts to reconstruct the genealogy of the relationship between artists and error. It then goes on to analyze the characteristics of technological error used in art along with the reasons for its appreciation by media artists and media activists. Finally, it contextualizes the practices of media art and media activism taken as exemplars in questions bound to contemporary technological power. The aim of this theoretical trajectory is to understand how error is used, for what purposes, and with what outcomes. Further, its goal is to determine whether and how the current popularity of technological error is bound to a certain relationship with technological power, the characteristics of which are control, regulation, prevention, and normalization.

Schermata 2015-09-23 alle 12.56.18


MNEMODRONE – CHAPTER TWO, (Emilio Vavarella and Daniel Belquer, ed.), independent publication, developed for ISEA2015 – 21st International Symposium on Electronic Art, Disruption, NYC, US. (eng)

MNEMODRONE is a transmedia memory-collecting project based on drone technology that investigates the social and philosophical issues of coexistence between humans and artificial intelligences. This publication is the documentation of MNEMODRONE’s CHAPTER TWO, and you can buy it here.

mnemodrone chapter2

Hz Journal

“Darwikinism: Between Trollism and Error” in HZ Journal, n.20, June 2015, Fylkingen, Stockholm, Sweden. (eng)

Technology has changed the way we read. For example, eBooks have changed the publishing industry; but also reading a hypertext, instead of a classic text, with the use of links to navigate from one page to another, is a big change in the way we approach and consider a text. Technology has also changed the way we write; we can think of, for example, the use of ‘grammar check’ in Microsoft Word and the difference between making a grammar mistake while writing a virtual text compared to writing with a classic typewriter. The virtual space in which people write today is a place where you can easily go back and change your content an infinite number of times without leaving any sign. In addition, technology has changed the way we learn, for example with e-learning. The field of digital humanities (and many related topics such as “open access to materials, intellectual property rights, tool development, digital libraries, data mining, born-digital preservation, multimedia publication, visualization, GIS, digital reconstruction, studies of the impact of technology, technology for teaching and learning, sustainability models and media studies” is constantly developing new theories and tools that will shape the future of education. Experts expect a significant change in the next twenty years (including huge digital libraries for easier access to automatic language translation); a change that can be compared to the effect that ‘big data’ has had on scientific research.



MNEMODRONE – CHAPTER ONE, (Emilio Vavarella and Daniel Belquer, ed.), independent publication, developed for CultureHub, RE FEST: Art + Technology Festival, NYC, US. (eng)

MNEMODRONE is a transmedia memory-collecting project based on drone technology that investigates the social and philosophical issues of coexistence between humans and artificial intelligences. This publication is the documentation of MNEMODRONE’s CHAPTER ONE, and you can buy it here.



fragments, by Emilio Vavarella, independent publication, New York, 2015.

This publication presents selected fragments of the interviews conducted by Emilio Vavarella at Harvestworks Digital Media Art Center during the development of MEMORYSCAPEShighlighting the poetry of the collected memories.

  • The letter F. stands for “fragments.”
  • The interviews are not translated.



“TRANSICONMORPHOSIS” in Leonardo – The Journal of the International Society of the Arts, Sciences and Technology, MIT Press, vol.47, no.4, 2014. (eng)


MNEMOSCAPE Magazine, The Sicilian Family, first issue, 2014, pp.160-165

Edited by Elisa Adami and Alessandra Ferrini, MN is a quarterly online magazine dedicated to furthering research into contemporary visual culture and art practices that operates at the interstices of political and historical scrutiny, with a special focus on issues of memory, methodology and the archive.

Contributors:  Alexander Apóstol, Az.Namusn.Art, Giulia Bassi, Lucy Bayley, Yvonne Bialek, Lisa Blackmore, Paolo Chiasera, Ben Cranfield, Alessandro Di Pietro, Wolfgang Ernst, Eirini Grigoriadou, Alana Kushnir, Pedro Lagoa, Lawrence Lek, Robert Luzar, Chris Mason, Anne Massey, Emilio Vavarella.


A Glitched Definition of Glitch is the essay I wrote for the publication A LINKING book, created by CAMPO 12, the first edition of the course for Italian curators supported by the Fondazione Sandretto Re Rebaudengo, in collaboration with the Fondazione per l’Arte Moderna and Contemporanea CRT; it was held from November 2012 to June 2013. The group of ten curators, working collaboratively, proposed a reflection on adaptation of curatorial discourse to cultural dynamics tightly bound to daily use of interface technology.

  • Theoretical contributions from: Joseph Nechvatal, Riccardo Benassi, Alessandra Donati, Emilio Vavarella
  • CAMPO12: Marta Barbieri, Bruno Barsanti, Lucrezia Calabrò, Sara Dolfi Agostini, Alessandra Ferlito, Valeria Mancinelli, Chiara Nuzzi, Marta Papini, Stefania Rispoli, Gabriele Tosi.

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Error and Metamorphosis in New Media Art: Perspectives and Strategies of Intellectual Resistance, (orig: ERRORE E METAMORFOSI NELLA NEW MEDIA ART. Prospettive e strategie di resistenza intellettuale). M.A. thesis, advisor: Angela Vettese. Publicly accessible at the Università IUAV di Venezia, Italy.

ABSTRACT: This thesis offers a theoretical and interdisciplinary study of technological error and metamorphosis through the analysis of technological power and a number of new media art practices put in the context of neoliberal network society. This research stems from the need to understand the specific function of technological error in the field of art and its growing importance in the work of countless new media artists. The thesis opens by illustrating a heterogeneous landscape through the study of error in Philosophy, Psychoanalysis, revolutionary political practices, Philosophy of Science, Theology, and Cybernetics, with the aim of establishing the main differences between error in these disciplines and artistic error. It then demonstrates how in art, error is seen as positive and definitional and how artists can freely take possession of and make use of errors that originate in other disciplines. The thesis continues by looking at multiple perspectives on the digital world we live in, and goes on to show how error is at the intersection of a double obsession: increasing productivity and enhancing control over the world and its inhabitants. Technological failure is eliminated or reduced to feedback for the empowerment of the System, or serves as a constant reminder of the need to improve its control. Its danger is its ability to demonstrate the imperfection of the system and its ability to reveal the weaknesses of technological Power. For this reason, new media artists have developed practices that exploit the subversive potential of error, giving rise to practices that share a common goal: the creation of new strategies of intellectual resistance and an openness to unexpected metamorphosis, facilitated by new technological possibilities. The formation of intellectual resistance, online and offline, appears in conclusion with the image of metamorphosis borrowed from Elias Canetti’s work: the essential goal of survival achieved through countless creative endeavors. The thesis demonstrates how metamorphosis is what enables man to resist the power that dominates him, and that the artist is the main creator of such metamorphosis.









1.1 From Plato to Philosophy of Science
1.2 Hegel’s Path
1.3 Psychoanalysis and the Fertility of Error
1.4 From Hegelian Psychoanalysis to Post-Revolutionary Error
1.5 Christian Religion, Cybernetics, and Noise


2.1 A Short Historical Introduction to the Errant Artist
2.2 Technological Error: Prepackaged Errors and Uncaptured Errors
2.3 Glitch as Pop and Mainstream Technological Error
2.4 “Let’s Have Fun Confusing Their Systems’-Culture”


3.1 Power, Potency, and Systematization of Error in Neoliberal Network Society
3.2 Social Control and Technological Power
3.3 From Disciplinary Societies to Network Societies of Control
3.4 Digital Personae and Future Perspectives
3.5 Perspectives of Resistance


4.1 Metamorphosis and Anti-metamorphosis
4.2 Metamorphosis in Network Society: From Charles Darwin to Pierre Lévy, Via Ernst Mach and Theodor Adorno
4.3 The Task of the Artist


What follows is the summary of the first chapter, and then summaries of the third and fourth chapters.



Asking About Art, independent publication under the sponsorship of Iuav University of Venice, curated by Emilio Vavarella and Francesco Nordio, 2011-2014

Asking About Art is a series of interviews that began during the second semester of the academic year 2011-2012, when Francesco Nordio and I took Cornelia Lauf’s Visual Arts Laboratory at Iuav University of Venice. We decided to interview some of the most prominent ex-students from our program, asking them about how they make art today, so that, through their answers, we could put together a fragmented landscape of ideas, intellectual positions and perspectives.

Our questions:

  1. How do you establish a process of artistic creation in regards to your work? [orig. Come si costituisce il processo di creazione artistica in riferimento al vostro lavoro?]

  2. What are the constants and variables, and how much are those factors imposed or spontaneous? [orig. Quali ne sono le costanti e le variabili, e quanto tali fattori sono imposti o spontanei?]

  3. Which strategies do you follow, what are the cognitive results you obtain, and what is the cultural value of your work? [orig. Quali sono le strategie che seguite, quali sono i risultati conoscitivi che ottenete e qual è il valore culturale del vostro lavoro?]

  4.  How is art made today? [orig. Come si fa arte oggi?]

  • Interviewed artists: Roberto Fassone, Nina Fiocco, Riccardo Giacconi, Teresa Iannotta, Clio Kraskovic, Alessandro Laita, Anna Longo, Corinne Mazzoli, Gianandrea Poletta, Luca Pucci, Giuliana Racco, Chiaralice Rizzi, Claudia Rossini, Sottobosco, Elisa Strinna, Chiara Trivelli, Valerio Veneruso, Serena Vestrucci.
  • Graphic design: Alberto Casagrande
  • Special thanks to Angela Vettese, Cornelia Lauf, Mara Ambrozic and Corinne Mazzoli.
  • All the materials included in the publication were gathered during the second semester of academic year 2011/2012.


Autonomy and Heteronomy of the Work of Maurizio Cattelan (orig: Autonomia ed Eteronomia dell’opera di Maurizio Cattelan). B.A. thesis. Advisors: Stefano Ferrari and Chiara Tartarini, University of Bologna.

In my undergraduate thesis entitled Autonomy and Heteronomy of the Work of Maurizio Cattelan, I embraced interdisciplinarity looking closely at a single artist through multifaceted lenses of the history, sociology, and psychology of art, considering the artist’s work as a synthesis of the cultural and media landscape in which he had been immersed. The materials I gathered included exhibition catalogues, scholarly essays, stills from cartoons, reproductions of historical artworks, and reviews in online blog posts, among other things, and I demonstrated how the artist was able to manipulate media attention while also reflecting and synthesizing its mechanisms. In my methodology I drew upon the concepts of two of the founders of my program at the University of Bologna: the idea of “open work” by Umberto Eco and the philosophic “anti-dogmatism” of Luciano Anceschi, as well as the theories of Marshall McLuhan and Walter Benjamin.

INDEX (ita)


1.1 Ok, il tempo è giusto
1.2 Strategie e carta igienica


2.1 Campagne elettorali e arte politica non politicizzata 
2.2 Io rubo a te, tu rubi a me 
2.3 Prove di disordine pubblico per l’italiano medio 
2.4 L’asino laureato e il potere impotente


3.1 Il saltimbanco, la maschera e l’animale
3.2 Espressioni della morte


4.1 Artista VS Artista
4.2 L’ingarbugliato micromondo dei Critici, curatori e galleristi
4.3 La grande mostra e la grande idea e viceversa
4.4 Voglio un Cattelan
4.5 Poetica da realismo capitalista
4.6 Verso nuove letture: Neuroestetica