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BIOGRAPHY

 

 

 

Emilio Vavarella is an artist whose work blends interdisciplinary art practice and theoretical research and is centered around the study of the relationship between humans and technological power. His works present a combination of using new technologies with alternative (non-productive, poetic, dysfunctional) goals in mind, imagining technology’s future effects through the use of speculative fiction, and decontextualizing and misusing technology to reveal its hidden mechanisms.

Emilio is currently working toward a PhD in Film and Visual Studies and Critical Media Practice at Harvard University. He holds an M.A. cum laude in Visual Arts from Iuav University of Venice, with study abroad fellowships at Bezalel Academy of Arts and Design, Tel Aviv and Bilgi University of Istanbul and received a B.A. cum laude in Visual, Cultural, and Media Studies from the University of Bologna.

His artworks have been exhibited at many of the most prestigious festivals of media arts, among which: EMAF – European Media Art Festival; JMAF – Japan Media Arts Festival; Stuttgarter Filmwinter – Festival for Expanded Media; BVAM – Media Art Biennale; and NYEAF New York Electronic Arts Festival. Esteemed venues that have exhibited Emilio’s work include: MAXXI – Museo nazionale delle arti del XXI secolo; MAMbo – Museo d’Arte Moderna di Bologna; Museo de Arte de Caldas; Villa Manin; Museo Nacional Bellas Artes in Santiago; National Art Center of Tokyo; Eyebeam Art and Technology Center; Museum of Contemporary Art Vojvodina, Fondazione Studio Marangoni and Fondazione Bevilacqua La Masa. In 2015 his installation MEMORYSCAPES was awarded the prestigious First Prize for Emerging Art of the Francesco Fabbri Prize for Contemporary Art. More recently, his first art film, Animal Cinema, was screened at several renown film festival, among which the Torino Film Festival, Toronto’s Images Festival and the St. Louis International Film Festival.

Emilio has been invited to present his work at: ISEA – International Symposium on Electronic Arts; Goldsmiths University of London; the University of East London; the School of the Art Institute of Chicago; and SIGGRAPH. His academic writings have been published in peer-reviewed journals such as Leonardo – The Journal of the International Society of the Arts, Sciences and Technology (MIT Press), Digital Creativity (Routledge), and CITAR Journal – Journal of Science and Technology of the Arts. His writings have also appeared in the book Behind the Smart World: Saving, Deleting and Resurfacing Data produced by the AMRO Research. Additionally, he has produced artists books in limited editions, most notably RE: Animation (2017), fragments (2015), and the MNEMODRONE Series (2014-ongoing).

His work has been discussed in Artforum and Neural, in books such as The New Aesthetic and Art: Constellations of the Postdigital (Institute of Network Culture), and in peer-reviewed journals such as Leonardo, Digital CreativityVisual Culture, Studi Culturali and Visual Communication QuarterlyAdditionally, Vavarella’s work has been frequently covered by global media outlets such as Wired (American, Italian, and Japanese editions), Le Monde, The Huffington Post, LaRepubblica, El País, BuzzFeed, New York Daily News, Mashable, Yahoo Tech, and Folha De S.Paulo, among others.


 

COMPLETE CV

 

 

EDUCATION

  • (Currently) Ph.D. – Harvard University. Film and Visual Studies and Critical Media Practice, Department of Visual and Environmental Studies, Graduate School of Arts and Sciences, US.
  • 2017-ongoing. Member of the Global Research Network Program, contributor to “The Internet of Other People’s Things” project, based at Woosong University and funded by the National Research Foundation of Korea.
  • 2016. Researcher in Residence at Signal Culture. Owego, New York, US.
  • 2013-2016. Harvestworks Digital Media Arts Center. Digital media production; TEAM Lab assistant. NYC, US.
  • 2013 M.A. – Iuav University of Venice. Visual Arts (Laura Magistrale Arti Visive), Italy. 
  • 2013 Erasmus Study Abroad Fellowship – Bilgi University of Istanbul. Graduate School of Social Sciences, Turkey.
  • 2012 Fellowship for Extra-European Studies (Studio Residency) – Bezalel Academy of Arts. M.F.A. Tel Aviv, Israel.
  • 2011 B.A. – University of Bologna. Fine Art, Visual, Cultural and Media Studies (Laurea Triennale in DAMS), Italy. 
  • 2006 Diploma in Architecture and Interior Design – ISA. Comiso, Italy.

 

(Selected) EXHIBITIONS AND FESTIVALS

(Ongoing/Upcoming)

  • MAXXI – Museo nazionale delle arti del XXI secolo, Low Form. Imaginaries and Visions in the Age of Artificial Intelligence, curated by Bartolomeo Pietromarchi, Rome, Italy
  • The Photographers’ Gallery. All I Know is What’s on the Internet (2018), curated by Katrina Sluis, Karen McQuaid and Sam Mercer, London, UK
  • (UpcomingMUFOCO – Museo di Fotografia Contemporanea, A Parallel World, curated by Joan Fontcuberta, Triennale di Milano, Italy
  • (Film Screening5th International Motion Festival, Nicosia, Cyprus
  • (Film Screening16th London Short Film Festival, London, UK

2018

  • MAMbo – Museo d’Arte Moderna di Bologna, THAT’S IT! On the newest generation of artists in Italy and one meter eighty from the border, curated by Lorenzo Balbi, Bologna, Italy
  • Artissima 2018, GALLLERIAPIÙ, Turin, Italy
  • Something Else – OFF Biennale CairoPoliptoton, head curator Simon Njami, Section curated by Elena Giulia Abbiatici, Darb 1718 Contemporary Art Centre, Cairo, Egypt
  • Niet Normaal FoundationRobot Love, curated by Ine Gervais, Eindhoven, Netherlands
  • iMAL Center for Digital Cultures and Technology, #LAYERS. Contemporary Art in the Digital Era, curated by Fabio Paris (Link Art Center), Brussels, Belgium
  • Associazione Barriera + Treignac Project, Kaluchua, curated by Mattia Solari and Martina Sabbadini, Torino and Treignac, Italy and France
  • Provisional Gallery, As If, curated by Ziying Duan, San Francisco, US
  • (Film ScreeningAesthetica Short Film Festival, York Theatre Royal, York, UK
  • (Film ScreeningFrontdoc – International Documentary Film Festival, Aosta, Italy
  • (Film Screening12th Sydney Underground Film Festival, Factory Theatre, Sydney, Australia
  • (Film ScreeningSouth Film and Arts Academy Festival, Rancagua, Chile
  • (Film Screening21st Antimatter [Media Art], Victoria, BC, Canada
  • (Film Screening33rd Fort Lauderdale International Film Festival, Cinema Paradiso, Florida, US
  • (Film Screening19th Lucania Film Festival, Matera, Italy
  • (Film Screening21st Revelation – Perth International Film Festival, Perth, Australia
  • (Film Screening) Laznia Center for Contemporary Art, No Middle, No End, curated by Federica Patti, Gdańsk, Poland
  • (Film Screening) 48th USA Film Festival, Dallas TX, US
  • (Film Screening45th Athens International Film and Video Festival, Athens OH, US
  • (Film Screening) Cinema Perpetuum Mobile – International Short Film Festival, Post-Documentary Section, Minsk, Belarus
  • (Film ScreeningMOSS INDEX 1, Artists’ Television Access, San Francisco, US
  • (Film Screening17th International Kansk Video Festival, Kansk, Russia
  • (Film Screening17th Festival Internacional de la Imagen, Manizales, Colombia
  • (Film Screening) 31st Images Festival, Ontario, Canada
  • (Film Screening27th Florida Film Festival, Maitland, US
  • (Film Screening) 15th Oxford Film Festival, Minnesota, US

2017

  • (Solo Exhibition) GALLLERIAPIÙ, RE: CAPTURE: Room(s) for Imperfection, part of THE WRONG – New Digital Art Biennale, curated by Federica Patti, Bologna, Italy
  • (Film Screening) 35° Torino Film Festival – TFFdoc, Cinema Massimo, Torino, Italy
  • (Film Screening) 24th International St. Louis Film Festival, Official Selection: Animal Cinema, St. Louis, US
  • ISEA2017 – 23rd International Symposium on Electronic Art + XVI Festival Internacional de la Imagen, Manizales, Colombia
  • European ParliamentLeggere il Presente. Percezione del confine e ruolo dell’Altro nell’Europa di oggi, curated by l’art9, Brussels, Belgium
  • ADAF – 13th Athens Digital Arts Festival#PostFuture, curated by Elli-Anna Peristeraki, Athens, Greece
  • (Solo Exhibition) Harvard Art Museums – LightBox GalleryRE:Animation, Cambridge MA, US
  • (Triple Solo Exhibition) Galleria Moitre, Irene Dionisio / Lavinia Raccanello / Emilio Vavarella, Turin, Italy
  • 30th Stuttgarter Filmwinter – Festival of Expanded Media, Juried Exhibition, curated by Wand 5, Kunstbezirk, Stuttgart, Germany

2016

  • (Online Exhibition) FLEFF 2016, Interface/Landscape, curated by Dale Hudson and Claudia Pederson, Ithaca College, NY, US
  • PLUNC 2016 – Digital Art and New Media Festival, Museu das Comunicações – Fundação Portuguesa das ComunicaçõesLisbon, Portugal
  • ISEA2016 香港, 22nd International Symposium on Electronic Art, Cultural R>evolution, Hong Kong
  • AMRO – Art Meets Radical OpenessFestival dedicated to Art, Hacktivism and Open Culture, Behind the Smart World, curated by KairUs, Linz, Austria
  • Villa Manin, Memorie, curated by Corrado Azzollini e Antonio Giusa. Section “La Meglio Gioventù” curated by Andrea Bruciati, Passariano di Codroipo (UD), Italy
  • 29th Stuttgarter Filmwinter – Festival of Expanded Media, Shape Shifters, curated by Wand 5, Stuttgart, Germany

2015

  • Francesco Fabbri Foundation – Francesco Fabbri Prize for Contemporary Art, curated by Carlo Sala in collaboration with Andrea Bruciati, Martina Cavallarin, Stefano Coletto and Raffaele Gavarro, Villa Brandolini, Pieve di Soligo (TV), Italy
  • MINY Media Center, The Arbitrary Art of Numbers, curated by Hans Tammen, NYC, US
  • (Online Exhibition) THE WRONG, New Digital Art Biennale, Homeostasis Pavilion, curated by Julia Borges Araña and Guilherme Brandão
  • Imagine the City, Street Views, curated by Gioula Papadopoulou, Cultural Center of Kalamata, Greece
  • 12th Media Art Biennale (BVAM), curated by Akihiro Kubota, Museo Nacional Bellas Artes, Santiago, Chile
  • IEEE VISAP’15Data Improvisations, curated by Angus Forbes, Fanny Chevalier and Daria Tsoupikova, School of the Art Institute of Chicago, US
  • Re-Building the Future, curated by Marco Pierini, in collaboration with Laura Barreca, Claudia Loffelholz and Andrea Bruciati, Ex Chiesa dei Cavalieri di Malta, Siracusa, Italy
  • (Solo Exhibition) NYEAF – New York Elctronic Art Festival, MEMORYSCAPES, Harvestworks Digital Media Arts Center, NYC, US
  • ISEA2015 – 21st International Symposium on Electronic Art, Disruption, curated by Kate Armstrong and Malcolm Levy, Vancouver, Canada
  • Expressive 2015, Idea Chain, (2015) curated by Angus Forbes and Anil Camci, Incubation Center of Koç University, Istanbul, Turkey
  • #watch22, curated by Günter Minas, Bonifazius-Türme, Mainz, Germany
  • (Online Exhibition) Luoghi Comuni Festival – Net Art Section, Altamura (BA), Italy
  • 18th Japan Media Arts Festival, curated by Uematsu Yuka, Satow Morihiro, Okabe Aomi, Takatani Shiro, Miwa Masahiro, National Art Center, Tokyo, Japan
  • (Online Solo Exhibition) THE ITALIAN JOB – Job n.2, An-Archiving Game, exhibition at WAG Widget Art Gallery and auction with OpenBazaar, curated by Monica Bosaro and Emma Stanisic

2014

  • CultureHub, RE FEST: Art + Technology Festival, curated by Billy Clark, NYC, US
  • SIGGRAPH 2014, ACTING IN TRANSLATION, curated by Basak Senova, Vancouver Convention Center, Canada
  • AIOP Art in Odd Places Festival, FREE, curated by Juliana Driever & Dylan Gauthier, 14th Street, NYC, US

  • EMAF 27th European Media Arts FestivalWE. THE ENEMY, curated by Hermann Noering, Kunsthalle Osnabrueck, Germany
  • TRACE(s) Festival Des Arts NumeriquesMédiathéque Léon Alègre Bagnols-sur-Cèze, France.
  • The ProjectsBEEP BOOP BOP, curated by Leah Brown and Peter Symons, FATVillage art district, Fort Lauderdale FL, US
  • CURRENTS 2014 The Santa Fe International Festival of New Media Art, curated by Parallel Studios, Santa Fe, US
  • THE ITALIAN JOB n.1 – embarrassment_party, curated by Marii Nyröp and Lucrezia Calabrò, online and physical exhibition at Amherst College, MA, US
  • (Online Exhibition) MON3Y as an 3RRR0R | MON3Y.US, curated by Vasily Zaitsev, online exhibition at MOUS310n.net
  • SLINGSHOTS, Festival of Music, Electronic Arts and Tech, Athens GA, US
  • Jarach Gallery, ECHO BACK. Figure di Interferenza, curated by Stefano Coletto, Venice, Italy

2013

  • EYEBEAMEMOJI, Art & Design Show, curated by Julia Kaganskiy and Zoe Salditch, NYC, US 
  • INTERNET&TACOS, Space for Digital Culture and Internet Politics, Hildesheim, Germany
  • EYEBEAMPRISM Break Up, curated by Heather Dewey-Hagborg, Ramsey Nasser and Open Culture, NYC, US
  • Museum of Contemporary Art Vojvodina, Autonomies, curated by NAPON (Institute for flexible cultures and technologies), Novi Sad, Serbia
  • Video Art Festival Miden, Street Views section, curated by Gioula Papadopoulou, Kalamata and Athens, Greece
  • Boston Cyberarts Gallery, COLLISION19: COmpress/DECompress, guest curated by Stephanie Dvareckas, US
  • Far Festa / Nuove Feste Veneziane, curated by Cake Away and Claire Tancons, Venice, Italy
  • GLITCH festival – Run computer, Run, Economics + The Immaterial, curated by Nora O Murchú, RUA RED, Dublin, Ireland

  • Mediterranea16 – Young Artists Biennial (BJCEM), Errors Allowed, curated by Charlotte Bank, Alessandro Castiglioni, Nadira Laggoune, Delphine Leccas, Slobodne Veze / Loose Associations, Marco  Trulli and Claudio Zecchi, Mole Vanvitelliana, Ancona, Italy
  • Fondazione Studio Marangoni, Lapsus, curated by Marinella Paderni, Florence, Italy
  • alt/, curated by José Esteban Muñoz, Gallery 360, Northeastern University, Boston, Massachusetts, US
  • PAC (Pinebox Art Center), New Frontiers, curated by Vincent Valerio, Baltimore MD, US

2012

  • Fondazione Bevilacqua La Masa, 96ma Collettiva Giovani Artisti, curated by Angela Vettese e Stefano Coletto, Galleria di Piazza S.Marco, Venice, Italy
  • European Researchers’ NightVeneto Night, sponsored by European Commission, 7° PQ for Research and Technological Development, Iuav University of Venice, Italy
  • Performing Iuav, curated by Cornelia Lauf and Angela Vettese, Venice Art Night, Venice, Italy
  • Fondazione Bevilaqua La MasaFine Corsa. Mostra laboratori Iuav. Curated by Stefano Arienti, Lewis Baltz, Marco Bertozzi and Cornelia Lauf, Palazzetto Tito, Venice, Italy
  • Fonlad, Digital Arts Festival, curated by IC Zero Association, Videolab and Cooperative Castles Theatre, UAVM Virtual Museum, WAC (Web Art Center) and Space for Arts, Media & Performances, Coimbra, Portugal
  • MetricubiThe Responsive Act, curated by Filipa Ramos and Rene Gabri, Venice, Italy

 

(Selected) BIBLIOGRAPHY

2018

  • (My contribution. Forthcoming) Vavarella, Emilio. “The Artist as Media-Flâneur: Strategies of Counter-Mapping in the Age of Google Earth, Google Maps, and Google Street View” in Error, Ambiguity, Creativity: A Multidisciplinary Reader, Edited by Sita Popat and Sarah Whatley, Palgrave Macmillan, 2018 (eng).
  • (My contribution) Vavarella, Emilio. “What is it like for a computer bot to be a computer bot?” and “Visual Essay” in Low Form. Imaginaries and Visions in the Age of Artificial Intelligence, catalogue of exhibition at MAXXI – Museo nazionale delle arti del XXI secolo, CURA Editions, 2018 (ita-eng).
  • (My contribution) Vavarella, Emilio. “Interview with a Drone” in Robot Love: Can We Learn From Robots About Love?, catalogue of exhibition at Niet Normaal Foundation, 2018 (eng).
  • (My contribution) Vavarella, Emilio. “THE GOOGLE TRILOGY – COMPENDIUM: Or on the Rise of the Media-Flâneur” in That’s IT! On the newest generation of artists in Italy and one meter eighty from the border, catalogue of exhibition at MAMbo – Museo di Arte Moderna di Bologna, 2018 (ita-eng).
  • (My contribution) Vavarella, Emilio. “The Digital Skin Series and The Google Trilogy” in Am Strand: Bild und Text zur Zukunft, Winter 2017/18, n.2 (deu-eng).
  • 
Costa, Flavia. “Nuestros Datos, ¿Nosotros Mismos?” [“Our data, ourselves? Art, technology and subjectivity in the era of genetic surveillance and algorithmic governmentality”] in Challenging Corporealities: Reconfigurations between Materiality and Discursivity, (Edited by Daniel López del Rincón), University of Barcelona Press, 2018 (spa).
  • The Huffington Post (Italian Edition). “Low Form, la mostra al Maxxi è un viaggio nell’immaginario surreale degli artisti di oggi.” 2018 (ita).
  • WIRED (Italian Edition). “Low Form, l’arte al tempo dell’Ai in mostra al Maxxi.” 2018 (ita)
  • WIRED (UK Edition). “These photos capture the invisible workers of the internet.” 2018 (eng)
  • Il Manifesto. “L’arte esplora l’inconscio delle macchine.” 2018 (ita).
  • LaRepubblica. “Ibridi e hi-tech i giovani pittori dell’intelligenza artificiale al Maxxi di Roma.” 2018 (ita).
  • Il Corriere della Sera. “L’intelligenza artificiale in mostra.” 2018 (ita)
  • Il Giornale delle Fondazioni. “Arrestare il sistema. Il caleidoscopio digitale del MAXXI punta sull’artificial intelligence.” 2018 (ita)
  • Exibart. “Lopera d’arte nell’epoca dell’IA.” 2018 (ita)
  • Exibart. “Il volto dell’intelligenza artificiale.” 2018 (ita)
  • Artribune. “L’Italia alla Off Biennale Cairo 2018.” 2018 (ita)
  • Archipanic. “Robot Love: Exploring Our Most Intimate Relationship with Intelligent Machines.” 2018 (ita)
  • TK21. “Art Brussels 2018” by Dominque Moulon, 2018 (eng).
  • Il Sole24Ore (Postcinema). “Animal Cinema” by Simone Arcagni, 2018 (ita).

2017

  • (My contribution) Vavarella, Emilio. Animal Cinema: A World Remaking Cinema for Itself, independent publication, developed in collaboration with GALLLERIAPIÙ, Cambridge and Bologna, 2017 (eng).
  • (My contribution) Vavarella, Emilio. RE: Animation, independent publication, Cambridge, 2017 (eng).
  • Curatorial text. “RE-CAPTURE: Room(s) for Imperfection” by Federica Patti, 2017 (ita-eng).
  • Digital Communication Quarterly, (Taylor & Francis). “The Digital Skin Series.” Edited by xtine burrough, vol.23. n.3, 2017 (eng).
  • Neural. “The Digital Skin Series.” Vol.55, centerfold, 2017 (eng).
  • Wall Street International Magazine. “Re-Capture. Room (s) for Imperfection. Solo show di Emilio Vavarella” 2017 (ita).
  • ATP DIARY. “Intervista con Emilio Vavarella” 2017 (ita).
  • Exibart. “Emilio Vavarella, Re-Capture: Room(s) For Imperfection” 2017 (ita).
  • Artibune. “Errori e tecnologia: Emilio Vavarella a Bologna” 2017 (ita).
  • Artribune. “Animal Cinema: quando dietro la telecamera non c’è l’occhio umano” 2017 (ita).
  • Juliet Art Magazine. “Emilio Vavarella: RE-CAPTURE: Room(s) for Imperfection” 2017 (ita-eng).
  • Studi Culturali (Il Mulino). “La specie è un ossimoro.”  Peer-reviewed article by Federica Timeto, 2017 (ita).
  • Technoculture. (Unità di Ricerca sulle Tecnoculture, Università degli Studi di Napoli ‘L’Orientale’). “Di cosa parlano i chatbot quando parlano fra loro?”, 2017 (ita).
  • la Repubblica. “Torino Film Festival, sullo schermo arrivano gli animali” 2017 (ita).
  • La Stampa. “TFFDoc: una GoPro tra le zampe svela la filosofia animale” 2017 (ita).
  • Il Fatto Quotidiano. “Animal Cinema, quando cani, polipi, scimmie e orsi diventano registi di un film” 2017 (ita).
  • Cinelapsus. “Animal Cinema di Emilio Vavarella,” 2017 (ita).
  • AND Kronos. “Animali registi: immagini mai viste in documentario” 2017 (ita).
  • Mise en Abyme. “Emilio Vavarella.” Interview by Mattia Pajé. 2017 (ita).

2016

  • (My contribution) Vavarella, Emilio. “Interview with the Drone: Experimenting with Post-Anthropocentric Art Practice” in Digital Creativity, edited by Stanislav Roudavski, Special issue on Post-Anthropocentric Creativity, Routledge, vol.27. n.1. 2016 (eng).
  • (My contribution) Vavarella, Emilio. “THE GOOGLE TRILOGY: Or How To Play With Google Street View” chapter in the book Behind the Smart World: Saving, Deleting and Resurfacing Data, edited by Linda Kronman and Andreas Zingerle, AMRO Research Lab, Linz, Austria, 2016 (eng).
  • The New Aesthetic and Art: Constellations of the Postdigital, edited by Scott Contreras-Koterbay and Lukasz Mirocha, Institute of Network Cultures, 2016 (eng).
  • Le Monde – Big Browser, “Avez-vous déjà vu les mutants de Google Street View?”, 2016 (fra).
  • Official Catalogue,“Memorie: Arte, Immagini e Parole del Terremoto in Friuli”, Skira Editore, Milan, 2016 (ita).
  • The Creators Project, “More than 50 GIF artists Take On Selfie Culture”, 2016 (eng).
  • ETC MEDIA, “La photographie avalée par le numérique”, by Sylvain Campeau, v.106, automne/hiver 2015 (fra).
  • Areo, “Orizzonti Mobili” by Carlo Sala, Speciale Cultura 6, n.52, 2016, pp.158-160 (ita).
  • Kritika, “Premio Francesco Fabbri per le Arti Contemporanee 2015” by Chiara Pozzobon, 2015 (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)
  • Exibart, “La meglio Gioventù: Azioni”, by Andrea Bruciati, 2016 (ita).

2015

  • (My contribution) Vavarella, Emilio. “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)-
  • (My contribution) Vavarella, Emilio. “Darwikinism Between Trollism and Error” in HZ Journal, n.20, June 2015, Stockholm, Sweden (eng).
  • (My contribution) Vavarella, Emilio. MNEMODRONE – CHAPTER TWO, independent publication, developed for ISEA2015 – 21st International Symposium on Electronic Art, Disruption, NYC, US (eng).
  • (My contribution) Vavarella, Emilio. MNEMODRONE – CHAPTER ONE, independent publication, developed for CultureHub, RE FEST: Art + Technology Festival, NYC, US (eng).
  • (My contribution) Vavarella, Emilio. fragments, independent publication, NYC, US (ita-eng).
  • Visual Studies, “Google Street View: Navigating the Operative Image” by Ingrid Hoelzl and Rémi Marie, Routledge, Vol. 29, No.3, pp. 261-271 (eng).
  • ISEA 2015 Official Catalogue, Art and Disruption, by Kate Armstrong, 2015, p.73 (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 (ita).
  • Artnoise, “Un’opera creata digitalmente con immagini di opere rubate…realmente”, by Lucia Longhi (ita).
  • Interalia Magazine, “On TRANSICONMORPHOSIS: an Interview with Emilio Vavarella and Fito Segrera”, by Richard Bright and Vasia Hatzi (eng).
  • INTERARTIVE, “THE ITALIAN JOB”, by Monica Bosaro and Emma Stanisic, special issue: Original vs. Copy, n.75 (eng).
  • Yahoo Tech, “10 Years of Google Maps, 10 Years of Google Maps Hacks”, by Rob Walker (eng).
  • Re-Building the Future, “Emilio Vavarella and The Sicilian Family” Official Catalogue, 2015 (ita-eng).
  • The Creators Project. “Explore an Extraterrestrial Dimension of New Media Art” 2015 (eng).
  • The Creators Project. “The Wrong New Digital Art Biennial Brings Together The Best Of The Net” 2015 (eng).
  • GAI – Giovani Artisti Italiani. “Il Progetto. L’intervista. Il Resoconto.” Interview by Valeria Lacarra. 2015 (ita).
  • Data Improvisations, “MEMORYSCAPES.” Official Catalogue VISAP’15, p.21 (eng).

2014

  • (My contribution) Vavarella, Emilio. “TRANSICONMORPHOSIS” in Leonardo, The Journal of the International Society of the Arts, Sciences and Technology, MIT Press , sixth special issue, vol.47, n.4 (eng).       
  • (My contribution)Vavarella, Emilio. “SHOWCASE: Emilio Vavarella, The Sicilian Family” in Mnemoscape Magazine, The Anarchival Impulse, issue #1, edited by Elisa Adami and Alessandra Ferrini, 2014 (eng).
  • ARTFORUM,  “Fair Game. Martha Buskirk on Networked Photography and Copyright”, magazine, summer 2014, vol.52, no.10 (eng).
  • WIRED Japanese edition, “Enhanced Vision” by Kei Wakabayashi, magazine, vol.13, September (jap)
  • Digital Creativity, “Art Space: ACM SIGGRAPH Art Gallery 2014” by Sue Gollifer, Routledge, Volume 25Issue 4, 2014, pp.360-368 (eng).
  • WIRED, Japanese Edition,  “Incredible Glitches from Google Street View” by Mayumi Irai/Galileo (jap).
  • laRepubblica,  “Quando la tecnologia è imperfetta: le foto sbagliate di Google Street” by Marzia Papagna (ita).
  • Furtherfield,  “MON3Y AS AN 3RROR | MON3Y.US” by Rob Myers (eng).
  • MASHABLE, “Artist Finds Beauty in Google Street View Glitches” by Laura Vitto (eng).
  • MASHABLE,  “Evocative Artists Inspired by Google Street View” by Yohana Desta (eng).
  • INTERARTIVE,  “THE WILDERNESS IN THE MACHINE: Glitch and the Poetics of Error” by Christin Grammatikopoulou, n.59, Art, Politics, Technology (eng).
  • Folha De S.Paulo,  “Artista busca erros no Street View durante um ano e monta coletânea” by Bruno Romani (bra).
  • “ITALIANS ON THE JOB: Inside and Outside an Anarchival Impulse.” Curatorial text by Monica Bosaro (eng).
  • A Question of Stealing.” Curatorial text by Emma Stanisic (eng).
  • The Italian Job. Italian Theory and The Art of Trolling.” Curatorial text by Lucrezia Calabrò Visconti (eng).
  • INTERARTIVE, “The Google Trilogy,” special issue: Art & Copyright, #50 (eng).
  • Mnemoscape Magazine, “SHOWCASE: Emilio Vavarella, The Sicilian Family,” issue n.1 “The Anarchival Impulse”, 2014, pp.160-165 (eng).
  • DIVA – Jorunal of The Society for Art and Science, “TRANSICONMORPHOSIS,” vol.36, 2014. (jap).

2013-2011

  • (My contribution) Vavarella, Emilio. ERRORE E METAMORFOSI NELLA NEW MEDIA ART: Prospettive e strategie di resistenza intellettuale. (Error and Metamorphosis in New Media Art: Strategies and Perspectives of Intellectual Resistance). M.A. thesis in: Theory and Critique of Contemporary Art. Advisor: Angela Vettese. Iuav University of Venice, Italy (ita).
  • (My contribution) Vavarella, Emilio. A GLITCHED DEFINITION OF GLITCH. Contribution for A Linking Book, exh. cat., curated by CAMPO12, Fondazione Sandretto Re Rebaudengo, Turin, Italy (ita-eng).
  • (My contribution) Vavarella, Emilio. ASKING ABOUT ART. Independent publication with Francesco Nordio. Venice, Italy (ita).
  • (My contribution, unpublished) Vavarella, Emilio. ANARCHIA ONLINE ED OFFLINE NELLA NETWORK SOCIETY NEOLIBERALE. (Online and Offline Anarchy in the Neoliberal Network Society). Contribution for Lettere da Venezia, ongoing project by Pietro Bonfanti, Italy (ita).
  • (My contribution) Vavarella, Emilio. CHE COSA E’ L’ARTE? (What is Art?). Essay published in “Ti con zero,” and “Il caos Management” (ita).
  • (My contribution) Vavarella, Emilio. AUTONOMIA ED ETERONOMIA DELL’OPERA DI MAURIZIO CATTELAN. (Autonomy and Heteronomy in the Work of Maurizio Cattelan). B.A. Thesis in: Psychology of Art. Advisors: Stefano Ferrari and Chiara Tartarini. DAMS, University of Bologna, Italy (ita).
  • WIRED, “These Glitches from Google Street View Are Worthy of an Art Gallery” by Kyle Vanhemert (eng).
  • WIRED Italian Edition, “Street View, Google abbiamo un problema” by Simone Cosimi (ita).
  • WIRED,  “7 Cute and Clever Art Pieces Made Using Emoji” by Liz Stinson (eng).
  • The Huffington Post,  “Google Street View Glitches Become Beautiful Art” by editorial staff (eng).
  • The Huffington Post,  “Emoji Art Reveals the Dark Side of the Smiley Face” by Bianca Bosker (eng).
  • Courrier International, Groupe Le Monde“Tendences: Aux frontières du réel,” magazine, n.1211 (fra).
  • Doing Digital Humanities, “Putting the Humanities in Digital Humanities” by Ryan Cordell (eng).
  • Flash Art,  “Bevilacqua La Masa presenta la 96ma Collettiva Giovani Artisti e i Borsisti della 95ma Collettiva Giovani” by editorial staff (ita).
  • laRepubblica D, “Giovani in mostra” by Katia Brega (ita).
  • Il Giornale dell’Arte, “Bevilacqua iperselettiva” by Lidia Panzeri (ita).

 

(Selected) PRIZES, FELLOWSHIPS, COMMISSIONS

2018

  • Experimental Forum Film Festival,Honorary Mention Award, Los Angeles, US
  • Critical Media Practice Mellon Grant, Film Study Center at Harvard University, MA, US.

2017

  • Critical Media Practice Mellon Grant, Film Study Center at Harvard University, MA, US.

2016

  • New York State Council on the Arts’ (NYSCA), Electronic Media and Film Finishing Funds, grant program administered by The ARTS Council of the Southern Finger Lakes.
  • MEMORIE: Arte, Immagini e Parole del Terremoto in Friuli. Commission for the creation of a new artwork at Villa Manin, Passariano di Codroipo (UD), Italy.
  • Winner of Premio ORA, 5th Edition. Solo exhibition at Gallleriapiù, Bologna, Italy.

2015

  • Winner of First Prize Emerging Art – Francesco Fabbri Prize for Contemporary Art and inclusion of MEMORYSCAPES in the permanent collection of the Fondazione Francesco Fabbri at Villa Brandolini (TV), Italy. Jury: Andrea Bruciati, Stefano Coletto, Martina Cavallarin and Raffaele Gavarro.
  • Movin’Up, Grant program to sustain the mobility of Italian artists abroad to present MNEMODRONE CHAPTER THREE during ISEA2015, Vancouver. Promoted by: Ministry of Cultural Heritage and Activities and Tourism: General Directorate for Contemporary Art and Architecture and Urban Suburbs, General Directorate for Performing Arts and GAI – Association for the Circuit of the Young Italian Artists.

2014

  • The Andrew W. Mellon Foundation and Five College Digital Humanities Project, stipend for the creation of THE ITALIAN JOB for embarrassment_party. Online residency program.

2013

  • M.A. summa cum laude, Iuav University of Venice, Italy.
  • Lapsus, Winner of Second Prize (photography) for THE SICILIAN FAMILY, Fondazione Studio Marangoni, Florence, Italy
  • Far Festa / Nuove Feste Veneziane, commission for the creation of PONTE PIRATA, Venice, Italy
  • Erasmus Fellowship for Abroad Studies, M.A. Cultural Studies, 5 months at Bilgi University of Istanbul, Turkey
  • Premio Combat Prize, curated by Andrea Bruciati, Special Mention from the Jury, Museo Civico G. Fattori ex Granai di Villa Mimbelli and  Museo di Storia Naturale di Livorno, Italy

2012

  • Fellowship for Extra-European Studies, Study Abroad, M.F.A, 4 months at Bezalel Academy of Arts and Design, Tel Aviv, Israel
  • Venice Art Night, commission for the creation of CONCERT FOR STRINGS, Iuav University of Venice, Italy
  • Scholarship of the Town for Academic Merits, Comune di Acate, Ragusa, Italy

2011

  • B.A. summa cum laude, University of Bologna, Italy 
  • Italian Excellence, selected for Italia degli Innovatori, by Agenzia per la diffusione delle tecnologie per l’innovazione. Presidenza del Consiglio dei Ministri, Rome, Italy
  • Winner of First prize – 23° Concorso Fotografico Francesco Bertozzi, Novara, Italy

 

CONFERENCES AND PRESENTATIONS OF MY PROJECTS

2017

  • A&SM, The Sensorium, curated by Dean Todd and Mikey Georgeson, The University of East London, UK
  • Against the Slow Cancellation of the Future, Centre for Cultural Studies, Goldsmiths, University of London, UK
  • Woosong University, “Art, Media Strategies and Emerging Visualities,” Guest speaker for the Special Lectures Series, Department of Media and Communication Arts, South Korea.

2015

  • Demonstration of MNEMODRONE at ISEA2015 – 21st International Symposium on Electronic Art, Simon Fraser University, Vancouver, Canada
  • “Computative Metamorphosis” talk at the Expressive 2015 Symposium, Computational Aesthetics, moderated by Angus Forbes and Anil Camci, Incubation Center of Koç University, Istanbul, Turkey

2014

  • RE FEST: Art + Technology Festival, The Invisible View: Surveillance Technologies & the rest of us, invited to present MNEMODRONE, moderated by Anna Barsan, CultureHub + La Mama Galeria, NYC, US
  • SIGGRAPH 2014, ART TALKSTechnological Error, Power and Metamorphosis, artisti talk moderated by Basak Senova, Vancouver Convention Center, Canada