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BIOGRAPHY & CV

Emilio Vavarella is an artist and researcher working at the intersection of interdisciplinary art practice, theoretical inquiry, and media experimentation. Through museum shows, film screenings, and written publications, Vavarella explores the relationship between life and technology and works at the forefront of experimental thought and praxis.

Vavarella’s work has been exhibited at the 18th Venice Biennale – International Architecture Exhibition (Italian Pavilion), MAXXI Museum (Rome), Museo Reina Sofia (Madrid), Hermitage Museum (St. Petersburg), The Photographers’ Gallery (London), KANAL – Centre Pompidou (Brussels), MAMbo – Modern Art Museum (Bologna), Madre – Museum of Contemporary Art (Napoli), Museum of Contemporary Art (Zagreb), Museu de Ciències Naturals (Barcelona), National Museum of Fine Arts (Santiago), Museum of Contemporary Art Vojvodina (Novi Sad), MBAL – Musée des beaux-arts du Locle, National Art Center (Tokyo), Eyebeam Art + Technology Center (New York), Off – Biennale (Cairo), BJCEM – Mediterranean Biennale, and Kyiv Biennial, among others. His films have screened at Toronto’s Images Festival; Torino Film Festival, Jeu de Paume (Paris), HKW – Haus der Kulturen der Welt (Berlin), and at various media art festivals including EMAF – European Media Art Festival (Osnabrück), JMAF – Japan Media Arts Festival (Tokyo), Filmwinter – Festival for Expanded Media (Stuttgart), and NYEAF – New York Electronic Arts Festival. 

Vavarella is the 2022-‘24 artist in residence at the Broad Institute of MIT and Harvard and a 2023 Harvard Horizons Scholar. He is the recipient of numerous fellowships, art prizes and grants, including a prestigious Italian Council award (2019). His academic writings have been published in the anthology Error, Ambiguity, Creativity: A Multidisciplinary Reader (Palgrave Macmillan), CITAR Journal – Journal of Science and Technology of the Arts, and in exhibition catalogs such as Low Form: Imaginaries and Visions in the Age of Artificial Intelligence (CURA Books), That’s IT! (MAMbo), and Robot Love (Niet Normaal Foundation). His most recent artist book, rs548049170_1_69869_TT (Mousse Publishing), brings together fifteen thinkers and ­­­practitioners from the fields of art, philosophy, bioengineering, media theory, and the history of science and technologyVavarella is currently at work on a book project that explores the connection between thought and media, tentatively titled Techniques and Technologies of Thought: A Short History of Media Models.

Vavarella received a Ph.D. in Film and Visual Studies and Critical Media Practice from Harvard University, an M.A. from Iuav University of Venice, and a B.A. from the University of Bologna.


 

COMPLETE CV

EDUCATION

  • 2024 | Ph.D. – Harvard University. Film and Visual Studies and Critical Media Practice, Department of Art, Film, and Visual Studies, Graduate School of Arts and Sciences, US.
  • 2024 | M.A. – Harvard University. Film and Visual Studies, Department of Art, Film, and Visual Studies, Graduate School of Arts and Sciences, US.
  • 2013 | M.A./M.F.A. – Iuav University of Venice. Visual Arts (Laurea 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, Discipline delle Art, Musica e Spettacolo), Italy.
  • 2006 | Diploma in Architecture and Interior Design – ISA. Comiso, Italy.

STUDY HONORS

  • 2023 | Harvard Horizons Fellow, member of the Society of Horizons Scholars, Harvard University.
  • 2023 | Harvard’s Graduate School of Arts and Sciences included me in its celebratory shows of extraordinary alumni. Pusey Library, 150th anniversary of GSAS exhibition, Harvard University.
  • 2013 | M.A./M.F.A summa cum laude, Visual Arts, Iuav University of Venice, Italy.
  • 2011 | B.A. summa cum laude, Disciplines of the Arts, Music and Spectacle, University of Bologna, Italy.
  • 2011 | Scholarship of the Town for Academic Merits, Comune di Acate (RG), Italy.

RESIDENCIES AND AFFILIATIONS

  • (Currently) Artist in residence at Broad Institute of MIT and Harvard. Cambridge, US
  • 2023 Harvard Horizons Scholar. Harvard University, Cambridge, US
  • 2021 | Artist in residence at Università degli Studi di MilanoAn-Iconology: History, Theory, and Practices of Environmental Images, Department of Philosophy, project funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme.
  • 2021 | Serving as Expert Advisor for SONY CSL Paris and MAXXI Museum Rome for the S+T+ARTS “Repairing the Present” program, supported by European Commission’s Directorate-General for Communications Networks, Content and Technology.
  • 2021 | Serving as Guest Editor at Sensate: A Journal for Experiments in Critical Media Practice. Co-editing a special issue (‘On Immersion’) with Julia Yezbick and Rachel Yezbick, Critical Media Practice Program, Harvard University, January 2021.
  • 2017-’19 | 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-’16 | Harvestworks Digital Media Arts Center. Digital media production; TEAM Lab assistant. NYC, US.

(Selected) FILM SCREENINGS

  • 2023 | Museo Reina Sofia. The Camera of Nature: The Non-Human in Cinema, curated by James Lattimer, Madrid, Spain
  • 2023 | MBAL – Musée des Beaux-Arts. Animal Instinct, curated by Federica Chiocchetti, Le Locle, Switzerland
  • 2022 | Jeu de Paume – PALM. Nouvelle Visions du Vivant: Animal Cinema, Paris, France (online)
  • 2022 | Rencontres International – Berlin. HKW – Haus der Kulturen der Welt, Berlin, Germany
  • 2022 | Rencontres International – Paris. New Cinema and Contemporary Art, Paris, France
  • 2021 | Hermitage Museum. Cyfest 13: Cosmos and Chaos, curated by Elena Gubanova, Saint Petersburg, Russia
  • 2020 | Festival Passage, Histoires animales, Côte de Nacre, France
  • 2020 | Gamma Festival – Gamma_ONSCREEN. Retrospective. Animal Cinema, curated by Natalia Fuchs, Saint Petersburg, Russia
  • 2019 | 29th Message to Man – IFF. The Screen Touches Back, curated by Alena Koroleva, Saint Petersburg, Russia
  • 2019 | IV Festival Cine Animal, Bogotà, Colombia
  • 2019 | Museu de Ciències Naturals of Barcelona – Loop Festival 2019Land(e)scape, curated by Aurélien Le Genissel, Barcelona, Spain
  • 2019 | Oaxaca Filmfest, Oaxaca, Mexico
  • 2019 | Richmond International Film and Music Festival, Richmond, Virginia, US
  • 2019 | San Antonio Independent Film Festival, Ibarra, Ecuador
  • 2019 | 5th International Motion Festival, Nicosia, Cyprus
  • 2018 | Aesthetica Short Film Festival, York Theatre Royal, York, UK
  • 2018 | Frontdoc – International Documentary Film Festival, Aosta, Italy
  • 2018 | 12th Sydney Underground Film Festival, Factory Theatre, Sydney, Australia
  • 2018 | South Film and Arts Academy Festival, Rancagua, Chile
  • 2018 | 21st Antimatter [Media Art], Victoria, BC, Canada
  • 2018 | 33rd Fort Lauderdale International Film Festival, Cinema Paradiso, Florida, US
  • 2018 | 19th Lucania Film Festival, Matera, Italy
  • 2018 | 21st Revelation – Perth International Film Festival, Perth, Australia
  • 2018 | Laznia Center for Contemporary ArtNo Middle, No End, curated by Federica Patti, Gdańsk, Poland
  • 2018 | 48th USA Film Festival, Dallas TX, US
  • 2018 | 45th Athens International Film and Video Festival, Athens OH, US
  • 2018 | Cinema Perpetuum Mobile – International Short Film Festival, Post-Documentary Section, Minsk, Belarus
  • 2018 | MOSS INDEX 1, Artists’ Television Access, San Francisco, US
  • 2018 | 17th International Kansk Video Festival, Kansk, Russia
  • 2018 | 17th Festival Internacional de la Imagen, Manizales, Colombia
  • 2018 | 31st Images Festival, Ontario, Canada
  • 2018 | 27th Florida Film Festival, Maitland, US
  • 2018 | 15th Oxford Film Festival, Minnesota, US
  • 2017 | 35° Torino Film Festival – TFFdoc, Cinema Massimo, Torino, Italy
  • 2017 | 24th International St. Louis Film Festival,Official SelectionAnimal Cinema, St. Louis, US

(Selected) EXHIBITIONS

2023

  • La Biennale di Venezia – 18th International Architecture Exhibition. Italian Pavilion. Spaziale, curated by Fosbury Architecture, Venice, Italy
  • Centro Pecci per l’arte contemporanea. Centro Pecci Urban Center, BELVEDERE. Prato, Italy
  • Smith Center – Harvard University. Remediations, curated by Mahan Moalemi, Cambridge MA, US
  • (Solo Exhibition) GALLLERIAPIÙ. RE:presentation, curated by Giada Pellicari, Bologna, IT
  • (Solo Exhibition) Broad Institute of MIT and Harvard. RE:presentation (Chapter 2). Cambirdge MA, US
  • (Forthcoming Online Solo ExhibitionFondazione Imago MundiRe: Animation / Reloaded, curated by Mattia Solari, Treviso, Italy
  • (Forthcoming ExhibitionMOMus – Experimental Arts Center. Technofetishism: Stories of Lust and Desire in the Post-Digital Culture, curated by Eirini Papakonstantinou, Thessaloniki, Greece
  • (Forthcoming Solo Exhibition) Museo Civico Giovanni Fattori. Premio Fattori Contemporaneo, Livorno, Italy

2022

  • (Solo ExhibitionMadre Museum of Contemporary Art – Napoli. Amazon’s Cabinet of Curiosities: Algorithmic Inquiry n.4, curated by Gianluca Riccio, Naples, Italy
  • (Solo ExhibitionFondazione Zegna. AAS47692 (The Other Shape of Things), curated by Ilaria Bonacossa, Casa Zegna, Trivero, Italy
  • (Solo Exhibition) Casa degli Artisti. The Italian Job n.3 – Lazy Sunday, curated by Elisabetta Modena and Sofia Pirandello, Milan, Italy.
  • Damslab. Tecnocene: Arti visive, tecnologie digitali, mondi possibili, curated by Into the Black Box, Bologna, Italy
  • Hendrik Christian Anderson Museum. Spazio Traccia, curated by Collettivo LUISS, Rome, italy
  • Museo della Città di Rimini. Emergenze Contemporanee, curated by Cristina Ambrosini, Claudia Collina and Giovanni Sassu, Rimini, Italy.

2021

  • Hermitage Museum. Cyfest 13: Cosmos and Chaos, curated by Elena Gubanova, Saint Petersburg, Russia
  • (Solo ExhibitionGALLLERIAPIÙ. rs548049170_1_69869_TT (The Other Shapes of Me): Sourcecode, curated by Ramdom in collaboration with MAMbo – Museo d’Arte Moderna di Bologna, Bologna, Italy
  • (Solo ExhibitionModern Art Base. rs548049170_1_69869_TT (The Other Shapes of Me): Errors, Limits and Malfunctions, curated by Ramdom and ArtHub Asia, Shanghai, China
  • (Solo ExhibitionCasa degli Artisti + 12° Atelier. THE ITALIAN JOB – Job n.3, Lazy Sunday, curated by Elisabetta Modena e Sofia Pirandello (AN-ICON), Milan, Italy
  • Maker Faire. You and AI: Through the Algorithmic Lens, curated by Irini Mirena Papadimitriou and Valentino Catricalà, in collaboration with Onassis Foundation, Rome, Italy
  • Convento di San Francesco. Il rituale del serpente: artisti, simboli e trasformazioni, curated by Viola Emaldi and Valentina Rossi, Bagnacavallo, Italy
  • Spazi Fest, Spazi Fotografici | Centro di fotografia e arti visive, Sarzana, Italy
  • BACOImage Stream, curated by Sara Benaglia and Mauro Zanco, Bergamo, Italy
  • Museo Licini. Collezione Ghigi, curated by Alessandro Zechini, Ascoli Piceno, Italy
  • Palazzo del GovernatoreAbecedario d’artista, curated by TØRØ, Parma, Italy
  • Kora – Centro del Contemporaneo. Home Sweet Home, curated by Paolo Mele, Alessandra Pioselli, Davide Quadrio, Claudio Zecchi, Castrignano de’ Greci, Italy

2020

  • (Online ExhibitionMAXXI – Museo nazionale delle arti del XXI secolo. Animal Cinema – XVI Giornata del Contemporaneo, Rome, Italy
  • MAXXI – Museo nazionale delle arti del XXI secolo. A Story for the Future. Il primo decennio del MAXXI, curated by Hou Hanru, Rome, Italy
  • Museum of Contemporary Art – Zagreb, Hesitant Images, curated by Klara Petrović and Luja Šimunović, Zagreb, Croatia
  • Share Festival XV / Share Prize XIII, Riots Here We Are, Turin, Italy
  • Transart Festival, Futurological Congress, Noi Techpark, Bolzano, Italy
  • Domus Magna / Palazzo della Misericordia, Metafotografia, curated by BACO (Mario Zanchi and Sara Benaglia), Bergamo, Italy
  • Lastation. Le stanze di Ramdom #2, curated by Ramdom, Gagliano del Capo, Italy
  • (Solo Exhibition) rs548049170_1_69869_TT (The Other Shapes of Me): “Ideas, Hypotheses, Assumptions and Objects”, curated by Ramdom, Gagliano del Capo, Italy
  • (Solo Exhibition) Porto Museo di Tricase, “MNEMOSCOPIO”, curated by Ramdom, Gagliano del Capo, Italy
  • (Online Exhibition) Rokolectiv Festival, Probabilities Around the Centre, curated by Rokolectiv, Bucharest, Romania
  • (Online Exhibition) Noemata. Undocumented events and object permanence. Curated by Bjørn Magnhildøen and Ana Buigues.
  • GALLLERIAPIÙ, Estetica con conseguenze, Bologna, Italy
  • Ricalcolo. Di territori computanti e dei loro attuatori analogici. Curated by Davide Bevilacqua, Gorizia, Italy

2019

  • (Solo ExhibitionArte Fiera 2019. Fotografia e Immagini in Movimento, GALLLERIAPIÙ, Bologna, Italy
  • (Solo ExhibitionArt Rotterdam. 2019. New Art, GALLLERIAPIÙ, Rotterdam, Netherlands
  • MAXXI – Museo nazionale delle arti del XXI secoloLow Form. Imaginaries and Visions in the Age of Artificial Intelligence, curated by Bartolomeo Pietromarchi, Rome, Italy
  • MAMbo – Museo d’Arte Moderna di BolognaTHAT’S IT! On the newest generation of artists in Italy and one meter eighty from the border, curated by Lorenzo Balbi, Bologna, Italy
  • KANAL – Centre Pompidou. Don’t Be Evil – Printemps Numérique, curated by Gluon, Brussels, Belgium.
  • The Photographers’ Gallery. All I Know is What’s on the Internet (2018), curated by Katrina Sluis, Karen McQuaid and Sam Mercer, London, UK
  • Kyiv Biennial 2019. The Black Cloud, curated by Visual Culture Research Center, Kyiv, Ukraine
  • Art Verona 2019. Amazon’s Cabinet of Curiosities (Algorithmic Enquiry n.1), in collaboration with art+b=love(?), directed by Federico Bomba and Cesare Biasini Selvaggi, Verona, Italy
  • Artissima 2019. Artissima Telephone, curated by Vittoria Martini, OGR – Officine Grandi Riparazioni, Turin, Italy
  • Khodynka Municipal GalleryAnimal Internet, curated by Sasha Burenkov, Moscow, Russia.
  • SAC – Spazio Arte Contemporanea. Combat Prize 2019, Livorno Italy
  • Japan Media Arts Festival in Asuka Kashihara, Migrans, Nara, Japan

2018

  • MAMbo – Museo d’Arte Moderna di BolognaTHAT’S IT! On the newest generation of artists in Italy and one meter eighty from the border, curated by Lorenzo Balbi, Bologna, Italy
  • Artissima 2018GALLLERIAPIÙ, 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 ProjectKaluchua, curated by Mattia Solari and Martina Sabbadini, Torino and Treignac, Italy and France
  • Provisional GalleryAs If, curated by Ziying Duan, San Francisco, US

2017

  • (Solo ExhibitionGALLLERIAPIÙRE: CAPTURE: Room(s) for Imperfection, part of THE WRONG – New Digital Art Biennale, curated by Federica Patti, Bologna, Italy
  • 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 ExhibitionHarvard Art Museums – LightBox GalleryRE:Animation, Cambridge MA, US
  • (Triple Solo ExhibitionGalleria MoitreIrene Dionisio / Lavinia Raccanello / Emilio Vavarella, Turin, Italy
  • 30th Stuttgarter Filmwinter – Festival of Expanded MediaJuried Exhibition, curated by Wand 5, Kunstbezirk, Stuttgart, Germany

2016

  • (Online ExhibitionFLEFF 2016Interface/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 ManinMemorie, 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 MediaShape 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 CenterThe Arbitrary Art of Numbers, curated by Hans Tammen, NYC, US
  • (Online Exhibition) THE WRONG, New Digital Art BiennaleHomeostasis Pavilion, curated by Julia Borges Araña and Guilherme Brandão
  • Imagine the CityStreet 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 ExhibitionNYEAF – New York Elctronic Art FestivalMEMORYSCAPES, Harvestworks Digital Media Arts Center, NYC, US
  • ISEA2015 – 21st International Symposium on Electronic ArtDisruption, 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

  • CultureHubRE 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 Festival, WE. THE ENEMY, curated by Hermann Noering, Kunsthalle Osnabrueck, Germany
  • TRACE(s) Festival Des Arts Numeriques, Médiathéque 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, Boston, 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 Masa, Fine 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

LIST OF PUBLICATIONS (Books, Essays, Interviews, and Contributions)

2023

  • [INTERVIEW / BOOK CHAPTER] “Protecting the Landscape” in Spaziale. Ognuno appartiere a tutti gli altri. Everyone belongs to everyone else (Ed. by Fosbury Architecture). Catalogue of the Italian Pavillion at 18th International Architecture Exhibition – La Biennale di Venezia, Milan: Humboldt Books (Italy), 2023, pp. 284-315. (ita-eng)
  • [INTERVIEW] “On the Unpredictability of Technological Power” in Bio Art (Ed. by Camilla Latini, Maurice Xu and Xiadi Sun). Published in two parts by the Parkview Museum Beijing – Singapore, Jun and July 2023. (chi-eng)
  • [REPRINT / ESSAY] “Thinking About Thought” in Remediations (Ed. by Mahan Moalemi). Cambridge, MA (US): Harvard University, Critical Media Practice program. Catalogue of the exhibition at Smith Campus Center, 2023. (eng)
  • [CONTRIBUTION] “Amazon’s Cabinet of Curiosities” in Magmagazine (Ed. by Aurora Giampaoli). Bologna (Italy), vol. 3, Spring 2023.

2022

  • [CONVERSATION / BOOK CHAPTER] “Conversazione con Emilio Vavarella” [trans. “Conversation with Emilio Vavarella”] in Le Insidie delle Immagini [trans. “The Pitfalls of Images”] Milan (Italy): postmedia books, 2022, pp. 219-229. (ita)
  • [ESSAY] “Lettre d'(in)intention: Animal Cinema” in PALM Magazine – Jeu de Paume Museum. Paris (France): Issue n. 2 (Nouvelles visions du vivant) [trans. “New Visions of Life”], 2022. (fra-eng).
  • [INTERVIEW / PEER-REVIEWED] “Intervista a Emilio Vavarella” [trans. “Interview with Emilio Vavarella”] in piano b. Arti e Cultura Visiva(Ed. by Sofia Pirandello). Bologna: University of Bologna Press (Italy), vol. 6, No. 1: 360° (The Environmental Image in the Visual Arts Between Virtual and Augmented Reality), (Special Issue ed. by Modena, Elisabetta; Pinotti, Andrea and Sofia Pirandello), 2021/2022, pp. 34-39. (ita)

2021

  • [CONVERSATION / BOOK CHAPTER] “Conversazione con Emilio Vavarella” [trans. “Conversation with Emilio Vavarella”] in Avanti&Indietro: 16 conversazioni sull’arte nel tempo e nella realtà analogicodigitali [trans. “Back & Forth: 16 Conversations on Art in the Time of Analog-Digital Reality”] (Ed. by Raffaele Gavarro). Imola (Italy): Manfredi Edizioni, 2021, pp. 153-164. (ita)
  • [ESSAY] Yezbick, Julia, Rachel Yezbick and Emilio Vavarella. “On Immersion: Editorial Essay” in Sensate: A Journal for Experiments in Critical Media Practice. Cambridge, MA (US): Harvard University, Critical Media Practice program, January 2021. (eng)
  • [EXHIBITION CATALOGUE / INTERVIEW] “Emilio Vavarella” in Il rituale del serpente: artisti, simboli e trasformazioni[trans. “The Snake Ritual: Artists, Symbols, and Transformations] (Ed. by Emaldi, Viola and Valentina Rossi). Ravenna (Italy): Danilo Montanari Editore, 2021, pp. 54-55. (ita)
  • [INTERVIEW / PEER-REVIEWED ARTICLE]“A Journey into Artworks: Storytelling in Augmented Reality and Mixed Reality” in Cinergie. Il cinema e le altre arti (Interview by Sofia Pirandello). Bologna (Italy): University of Bologna Press; No. 19 (Special issue Ed. by Arcagni, Simone and Adriano D’Aloia), August 2021, pp. 135-145. (eng)
  • [INTERVIEW]“Arte, tecnologia ed errori. In conversazione con Emilio Vavarella” [trans. “Art and Technology. In Conversation with Emilio Vavarella”] in Juliet(Interview by Manuela Valentini). 3 May 2021. (ita)
  • [INTERVIEW]“Il rapporto tra essere umano e tecnologia. Intervista a Emilio Vavarella” [trans. “The Relationship Between Human Being and Technology”] in Zirartmag (Interview by Marika Farina). 12 Jun 2021. (ita)
  • [INTERVIEW]“RIFF 2021 Q&A: Emilio Vavarella’s ‘Genesis’ (2021)” in Split Tooth Media (Interview by Robert Delany). August 2021. (eng)
  • [SHORT ESSAY] “Sculpting Beyond Sculpture” in Sculpture Network, 25 July 2021. (eng)

2020

  • [ARTICLE / CONVERSATION]“Glitch: la verità nell’errore. Conversazione con Emilio Vavarella” [trans. “Glitch: The Truth in the Error. Conversation with Emilio Vavarella”] in Doppiozero (Ed. by Zanchi, Mauro and Sara Benaglia). 5 July 2020. (ita)
  • [EDITED BOOK] Vavarella, Emilio, Mele, Paolo and Claudio Zecchi (Ed. by) rs548049170_1_69869_TT. Milan: Mousse Publishing, 2020. (ita-eng)
  • [INTERVIEW / BOOK CHAPTER] “Intervista 25: Emilio Vavarella” [trans. “Interview 25: Emilio Vavarella”] in Metafotografia, Vol. 2. Le mutazioni delle immagini [trans. “Metaphotography, Vol. 2: The Mutations of the Images”] (Ed. by Zanchi, Mauro and Sara Benaglia). Jesi (Italy): Skinnerbox Press, 2020, pp. 112-117. (ita).
  • [INTERVIEW]“Digitale Off Limits: intervista a Emilio Vavarella” [trans. “Digital Off Limits: Interview with Emilio Vavarella”] in Exibart (Interview by Maria Chiara Wang). July 2020. (ita)
  • [INTERVIEW]“Intervju: Emilio Vavarella” in R+ (Interview by Tena Razumović Žmara). September 2020. (hrv-eng)
  • [INTERVIEW]“Nuove ipotesi di realtà. Intervista con Emilio Vavarella / New Hypotheses of Reality: Interview with Emilio Vavarella” in ATP Diary (Interview by Elena Bordignon). January 2020. (ita-eng)
  • [INTERVIEW]“Tessitura, memoria e tecnologia. Intervista a Emilio Vavarella” [trans. “Weaving, Memory, and Technology. Interview with Emilio Vavarella”] in Artribune (Interview by Cecilia Pavone). September 2020. (ita)
  • [INTERVIEW]“Thought is my main medium. Interview with Emilio Vavarella / Il pensiero è il mio medium principale. Intervista con Emilio Vavarella” in Digicult (Interview by Giada Totaro). July 2020. (ita-eng)
  • [REPRINT / CONVERSATION]“Glitch: The Truth in the Error. A Conversation with Emilio Vavarella” in Loosenart (Interview by Zanchi, Mauro and Sara Benaglia). August 2020. (eng)
  • [SHORT ESSAY / EXHIBITION CATALOGUE] “Alcune riflessioni personali su Google Mapping / Some Personal Thoughts on Google Mapping” in Ricalcolo: di territori computanti e dei loro attuatori analogici [trans. “Recalculation: Of Computing Territories and Their Analog Actuators”] (Ed. by Davide Bevilacqua). Udine (Italy): Mind the Gap and Altreforme, 2020, pp. 16-31. (ita-eng)

2019

  • [INTERVIEW]“Amazon’s Cabinet of Curiosities: Intervista a Emilio Vavarella” in Dartema (Interview by Maria Chiara Wang). November 2019. (ita)
  • [INTERVIEW]“Non lasceremo l’intelligenza artificiale agli informatici” [trans. “We Will Not Leave Artificial Intelligence to Computer Scientists”] in Exibart (Double interview by Federico Bomba to Salvatore Iaconesi and Emilio Vavarella). Rome: Exibart Edizioni, Issue n. 106, 2019, pp. 66-67. (ita)
  • [INTERVIEW]“Emilio Vavarella: Interdisciplinarità artistica” [trans. “Emilio Vavarella: Artistic Interdisciplinarity”] in Juliet (Interview by Emanuela Zanon). Muggia, TS (Italy): Associazione Juliet, Issue n. 192, April-May 2019, p.64. (ita)
  • [INTERVIEW]“Emilio Vavarella” in That’s Contemporary (Interview by Gianluca Gramolazzi). October 2019. (ita)

2018

  • [PEER-REVIEWED BOOK CHAPTER] “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 (Ed. by Sita Popat and Sarah Whatley). London: Palgrave Macmillan, 2018, pp. 137-166. (eng)
  • [BOOK CHAPTER] “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.Bologna (Italy): Edizioni MAMbo, catalogue of exhibition at MAMbo – Museo di Arte Moderna di Bologna, 2018. (ita-eng)
  • [INTERVIEW]“Intervista con Emilio Vavarella | Re-Capture: Room(s) for Imperfection” in ATP DIARY (Interview by Irene Argenica). 13 January 2018. (ita)
  • [REPRINT / PEER-REVIEWED ARTICLE / EXHIBITION CATALOGUE] “Interview with a Drone” in Robot Love: Can We Learn From Robots About Love? (Ed. by Ine Gevers et al.). Houten: Terra Publishing, catalogue of the exhibition at Niet Normaal Foundation, 2018, pp. 162-169. (eng)
  • [SHORT ESSAY / EXHIBITION CATALOGUE] “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(Ed. by Bartolomeo Pietromarchi). Rome: CURA Editions,Catalogue of exhibition at MAXXI – Museo nazionale delle arti del XXI secolo, 2018, pp. 221-232; 266-267; 348-349. (ita-eng)

2017

  • [ARTIST BOOK] Animal Cinema: A World Remaking Cinema for Itself. Limited edition artist booklet. Bologna (Italy): GALLLERIAPIÙ Edition, 2017. (eng)
  • [ARTIST BOOK] RE: Animation. Artist book, independent publication, Cambridge MA (US), 2017. (eng)
  • [CONTRIBUTION / PEER-REVIEWED]“The Digital Skin Series” in Digital Communication Quarterly(Ed. by xtine burrough). Milton Park (UK): Taylor & Francis, vol. 23, n. 3, 2017, pp. 188-195. (eng)
  • [CONTRIBUTION] “The Digital Skin Series and The Google Trilogy” in Am Strand: Bild und Text zur Zukunft [trans. “On the Beach: Image and Text on the Future”]. Winter 2017/18, n. 2, pp. 60-73. (deu-eng)
  • [CONTRIBUTION] “The Digital Skin Series” in The Harvard Advocate. Cambridge MA (US), vol. 152, No.2. Winter 2017, p. 72. (eng)
  • [INTERVIEW]“Emilio Vavarella” in Mise en Abyme (Interview by Mattia Pajé). 2017. (ita)

2016

  • [PEER-REVIEWED ARTICLE] “Interview with the Drone: Experimenting with Post-Anthropocentric Art Practice” in Digital Creativity (Ed. by Stanislav Roudavski). Milton Park (UK): Routledge, special issue on Post-Anthropocentric Creativity, vol. 27, n. 1, 2016, pp. 71-81. (eng)
  • [ESSAY / EXHIBITION CATALOGUE] “The Google Trilogy: Or How To Play With Google Street View” in Behind the Smart World: Saving, Deleting and Resurfacing Data (Ed. by Kronman, Linda and Andreas Zingerle). Linz: AMRO Research Lab, catalogue of the exhibition, 2016, pp. 38-48. (eng)
  • [INTERVIEW]“Emilio Vavarella: The Sicilian Family” in Museo Rimodificato: Art sine Scientia nihil est [trans. “Remodified Museum: Art Without Science is Nothing”] (Interview by Giulia Meloni). Visual Arts Lab, Iuav University of Venice, Italy, 2016. (ita)

2015

  • [PEER-REVIEWED ARTICLE] “Art, Error and the Interstices of Power” in CITAR Journal – Journal of Science and Technology of the Arts (Ed. by Jorge Cardoso). Lisbon (Portugal): UCEditora (Universidade Católica Portuguesa), vol .7, n. 2, December 2015, pp. 7-17. (eng)
  • [ARTIST BOOK] MNEMODRONE – CHAPTER TWO, independent publication, developed for ISEA2015 – 21st International Symposium on Electronic Art, Disruption, NYC (US), and Vancouver (Canada), 2015. (eng)
  • [ARTIST BOOK] fragments, independent publication, NYC (US), 2015. (ita-eng).
  • [INTERVIEW]“On TRANSICONMORPHOSIS: an Interview with Emilio Vavarella and Fito Segrera” in Interalia Magazine (Interview by Bright, Richard and Vasia Hatzi), 2015. (eng)

2012-2014

  • [PEER-REVIEWED ARTICLE] “TRANSICONMORPHOSIS” in Leonardo, The Journal of the International Society of the Arts, Sciences and Technology. Cambridge, MA: MIT Press, sixth special issue, vol. 47, n. 4, pp. 420-421. (eng)
  • [ARTIST BOOK] ASKING ABOUT ART (Ed. by Vavarella, Emilio and Francesco Nordio). Independent publication. Venice, Italy, 2012. (ita)
  • [ARTIST BOOK] MNEMODRONE – CHAPTER ONE, independent publication, developed for CultureHub, RE FEST: Art + Technology Festival, NYC (US), 2014. (eng)
  • [SHORT ESSAY / EXHIBITION CATALOGUE] “A Glitched Definition of Glitch” in A Linking Book (Ed. by CAMPO 12). Turin (Italy): Fondazione Sandretto Re Rebaudengo, Exbibition Catalogue, 2012. (ita-eng)
  • [CONTRIBUTION] “TRANSICONMORPHOSIS” in DIVA – Journal of The Society for Art and Science. Tokyo (Japan): Society for Arts and Sciences, vol. 36, 2014, pp. 19-20. (jap)
  • [SHORT ESSAY] “SHOWCASE: Emilio Vavarella, The Sicilian Family”in Mnemoscape Magazine, The Anarchival Impulse (Ed. by Adami, Elisa and Alessandra Ferrini). Issue #1, 2014, pp. 160-165. (eng)

ART PRODUCTION GRANTS

  • 2023-’24 | Broad Insitute of MIT and Harvard. Artist in Residency production grant, Cambridge MA, US.
  • 2023-’24 | MOM (My Own Museum) + Kora__extended. Collaborative project with Ramdom association. Project funded by PNRR, Italy’s recovery and resilience plan, European Commission and Italian Ministry of Culture. I serve as technical advisor and artistic advisor.
  • 2022 | Zegna Foundation. Production grant and special commission for Casa Zegna/Oasi Zegna, Trivero, Italy.
  • 2022 | Madre Museum of Contemporary Art. Production grant for installation and workshop in collaboration with Accademia di Belle Arti di Napoli, Italy.
  • 2019-‘20 | (In association) ERC – European Research Council. An-Iconology: History, Theory, and Practices of Environmental Images. Principal Investigator: Prof. Andrea Pinotti. Personal role: Artist in residence. Production budget for artist in residence (VR) project.
  • 2019 | Winner of 2019 Italian Council (Italy’s most competitive art production grant) promoted by MiBAC – Ministero per i Beni e le Attività Culturali (Ministry of Cultural Heritage and Activities), Italy. Cultural partners: Ramdom / LaStation (Italy); Film Study Center, Harvard University (USA); Arthub Asia (China) and MAMbo – Museo d’Arte Moderna di Bologna.
  • 2019 | Winner of SIAE – Nuove Opere 2019.  Commission for a new project, MNEMOSCOPIO, produced and curated by Ramdom.
  • 2019 | Art Verona 2019. Special commission for art+b=love(?), directed by Federico Bomba and Cesare Biasini Selvaggi, in collaboration with Giovani Imprenditori Confcommercio, Verona, Italy.
  • 2018 | MAMbo – Museo d’Arte Moderna di Bologna. Production budget for installation (THAT’S IT! On the newest generation of artists in Italy). curated by Lorenzo Balbi, Bologna, Italy.
  • 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.
  • 2016 | 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.
  • 2015 | 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.
  • 2015 | Production budget for #watch22, exhibition curated by Günter Minas, Bonifazius-Türme, Mainz, Germany.
  • 2015 | Re-Building the Future. Production budget for exhibition. Project funded by European Union Regional Development Fund (FESR), Syracuse, Italy.
  • 2014 | The Andrew W. Mellon Foundation and Five College Digital Humanities Project, stipend for the creation of THE ITALIAN JOB n.1 for embarrassment_party. Online residency program.
  • 2013 | Far Festa / Nuove Feste Veneziane, commission for the creation of PONTE PIRATA, Venice, Italy
  • 2012 | Venice Art Night, commission for the creation of CONCERT FOR STRINGS, Iuav University of Venice, Italy.

SCIENTIFIC RESEARCH GRANTS

  • 2023-‘24 | Harvard University, Dissertation Completion Fellowship, GSAS, Harvard University.
  • 2023-‘24 | Critical Media Practice – Mellon Foundation Research Grant, Film Study Center,Harvard University.
  • 2022-‘23 | Merit/Graduate Society Term-Time Research Fellowship. Harvard University.
  • 2019-‘20 | Critical Media Practice – Mellon Foundation Research Grant, Film Study Center,Harvard University.
  • 2019-‘20 | (In association) ERC – European Research Council. “An-Iconology: History, Theory, and Practices of Environmental Images.” Principal Investigator: Prof. Andrea Pinotti. Personal role: Artist in residence.
  • 2019-‘20 | Summer Research Award, Graduate School of Arts and Sciences, Harvard University.
  • 2019 | Film and Visual Studies Professional Development Fund, Department of Visual and Environmental Studies, Harvard University.
  • 2018-‘19 | Critical Media Practice – Mellon Foundation Research Grant, Film Study Center,Harvard University.
  • 2018-‘19 | Summer Research Award, Graduate School of Arts and Sciences, Harvard University.
  • 2017-’19 | (In association) National Research Foundation of Korea – Global Research Network Program. International researcher for “The Internet of Other People’s Things” project. Principal investigator: Dr. Andreas Zingerle. Woosong University, project funded by the Korean National Research Fund (NRF).
  • 2017-‘18 | Critical Media Practice – Mellon Foundation Research Grant, Film Study Center,Harvard University.
  • 2017-’18 | Summer Research Award, Graduate School of Arts and Sciences, Harvard University.
  • 2016-‘17 | Critical Media Practice – Mellon Foundation Research Grant, Film Study Center,Harvard University.
  • 2016-’17 | Summer Research Award, Graduate School of Arts and Sciences, Harvard University.
  • 2013 | Erasmus Fellowship for Abroad Studies, M.A. Cultural Studies, Bilgi University of Istanbul, Turkey.
  • 2012 | Fellowship for Extra-European Studies, Study Abroad, M.F.A, Bezalel Academy of Arts and Design, Tel Aviv, Israel.

ARTISTIC AWARDS

  • 2021 | Exibart Art Prize – First edition. Winner (first prize). Rome, Italy.
  • 2020 | Premio Graziadei – VII EdizioneSpecial mention, Rome, Italy.
  • 2020 | Premio acquisto Regione Emilia-Romagna. The Sicilian Family (ed.2/3). Acquisition prize for the collection of Istituto Beni Culturali, Bologna, Italy.
  • 2019 | Winner of Premio Fattori Contemporaneo 2019, promoted by Musei Civici di Livorno, Museo della Città – Luogo Pio Arte Contemporanea and Museo Giovanni Fattori. Livorno, Italy.
  • 2019 | ArteFiera – Premio per la fotografia Annamaria e Antonio Maccaferri, acquisition prize for work n.45/100 from the series THE GOOGLE TRILOGY – 1. Report a Problem, Bologna, Italy.
  • 2019 | 3rd San Antonio Independent Film FestivalWinner Best Experimental Short, Ecuador.
  • 2019 | Il Varco – III Festival Internazionale del CortometraggioHonorary Mention for Experimental Cinema, Italy
  • 2018 | Experimental Forum Film Festival,Honorary Mention Award, Los Angeles, USA.
  • 2016 | 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.
  • 2013 | Lapsus, Winner of Second Prize (photography) for THE SICILIAN FAMILY, Fondazione Studio Marangoni, Florence, Italy.
  • 2013 | 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.
  • 2011 | Italian Excellence, selected for Italia degli Innovatori, by Agenzia per la diffusione delle tecnologie per l’innovazione. Presidenza del Consiglio dei Ministri, Rome, Italy.
  • 2011 | Winner of First prize –23° Concorso Fotografico Francesco Bertozzi, Novara, Italy.

TEACHING AWARDS

  • 2022 | Harvard University Certificate of Distinction in Teaching, Fall semester.
  • 2021 | Harvard University Certificate of Distinction in Teaching, Spring semester.
  • 2020 | Harvard University Certificate of Distinction in Teaching, Fall semester.
  • 2019 | Harvard University Certificate of Distinction in Teaching, Fall semester.
  • 2018 | Harvard University Certificate of Distinction in Teaching, Fall semester.

ACADEMIC SERVICE

  • 2023-‘24| Harvard Honor Council, voting member and academic integrity ambassador, Harvard University.
  • 2023-‘24| Harvard Film and Visual Studies Peer-Mentor Program, mentor, Harvard University.
  • 2020 | Department of Visual and Environmental Studies, graduate students’ representative, Harvard University.
  • 2018 | Member of the Program Committee of the 2018 Visual and Environmental Studies Graduate Student Conference. Rendering. April 6-7, 2018, Harvard University.
  • 2016 | Member of the Program Committee of the IEEE VIS – VISAP ’16: Metamorphoses (Institute of Electrical and Electronics Engineers Computer Society Technical Committee on Visualization and Graphics – Visualization Conference). Curated show at Baltimore Convention Center, Baltimore MD, US.
  • 2016 | Reviewer for Platform – Journal of Media and Communication (issue: Cunning Knowledge and Media Technologies), University of Melbourne, Australia.

BIBLIOGRAPHY (Articles, Press Coverage and Reviews of my Work)

2023

  • [ACADEMIC PAPER] Beyrouthy, Damien. “Facing Depletion. Artworks for an Epistemological Shift in the Collapse Era” in Ecozona, Vol. 14, No. 2, 2023. (eng)
  • [ACADEMIC PAPER] Riccio, Gianluca. “Flussi di immagini, detriti di dati, forme d’esistenza, spazi di mediazione e proiezione nell’epoca della (im)materialità digitale” [trans. “Flows of Images, Debris of Data, Forms of Existence, Spaces of Mediation and Projection in the Age of Digital (Im)materiality”] in Zeusi: Linguaggi contemporanei di sempre. Naples (Italy): Accademia di Belle Arti di Napoli, Issue n. 16: Flusso, Forma, Fabbrica [trans. “Flow, Form, Factory”], Summer 2023. (ita)
  • [ARTICLE] Harvard University – Graduate School of Arts and Sciences. “Conceptual Artist: How technology shapes what we know—and the questions we ask” by Paul Massari, 5 April 2023. (eng) 
  • [BOOK] Maurer, Kathrin. The Sensorium of the Drone and Communities. Cambridge, MA: MIT Press, 2023, pp. 195-202.
  • [BOOK] Pignatti, Lorenza. Cartografie radicali: Attivismo, esplorazioni artistiche, geofiction [trans. “Radical Cartographies: Activism, Artistic Explorations, Geofiction”]. Milan: Meltemi, 2023.
  • [BOOK CHAPTER] Modena, Elisabetta. “Nel corpo di un altro” and “Performer con il casco” [trans. “In Someone Else’s Body” and “Performer with the Helmet”] in Immersioni. La realtà virtuale nelle mani degli artisti [trans. “Immersions: Virtual Reality in the Artists’ Hands”]. Milan: Johan & Levi Editore, 2023. (ita)
  • [BOOK CHAPTER] Pirandello, Sofia. “Spazio alla memoria: gli archivi in realtà aumentata” [trans. “Space to Memory: Augmented Reality Archives”] in Fantastiche presenze. Note su estetica, arte contemporanea e realtà aumentata [trans. “Fantastic Presences: Notes on Aesthetics, Contemporary Art, and Augmented Reality”]. Milan: Johan & Levi Editore, 2023, pp. 76-89. (ita)
  • [EXHIBITION REVIEW] Exibart. “Re/Presentation di Emilio Vavarella alla Gallleriapiù” by Emilia Angelucci, 2023. (ita)
  • [EXHIBITION REVIEW] Juliet. “Emilio Vavarella. Re/presentation: the human being as a genetic code,” by Emanuela Zanon, March 2023. (ita-eng)
  • [MA THESIS] NABA: Nuova Accademia di Belle Arti. Amico, Chiara. “Emilio Vavarella” in Missing the Signal. MA Thesis in Fashion and Textile Design, Advisor: Andrea Cammarosano, Milan (Italy), 2023, pp-122-142. (ita)
  • [PODCAST] Harvard University Colloquy Podcast. “A Short History of Technology and Thought” August 24, 2023. (eng)

2022

  • [ACADEMIC PAPER] Modena, Elisabetta. “Lending the face. Lazy Sunday by Emilio Vavarella” in VCS: Visual Culture Studies, Milan: Mimesis Edizioni, Issue #5, December 2022, pp. 77-94. (eng)
  • [ACADEMIC / MFA THESIS] University of British Columbia. “The symbolic potential of form, material, and objects” by Rylan Broadbent, Thesis in Visual Arts, Advisor: Aleksandra Dulic, University of British Columbia, Canada. (eng) 
  • [ACADEMIC PAPER] Nuñez, Laila Algaves. “Corpo e cidade capturados para dentro do mapa: dispositivos e contradispositivos a partir das imagens operacionais do Google Street View” [trans. “Body and City Captured in the Map: Devices and Counter-Devices from Google Street View’s Operational Images”] in RCL Revista de Comuncaçao e Linguagens / Journal of Communication and Languages. Lisbon (Portugal): Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, n. 56: Special Issue: Regimes da Transparência / Regimes of Transparency, 2022, pp. 62-76. (por)
  • [BOOK] Zanchi, Mauro. La fotografia come medium estensibile [trans. “Photography as an Extensible Medium”]. Milan: postmedia books, May 2022. (ita)
  • [BOOK] Modena, Elisabetta. Nelle storie. Arte, cinema e media immersivi [trans. “In the Stories: Art, Cinema and Immersive Media”]. Rome: Carocci Editore, June 2022, p. 125. (ita)
  • [EXHIBITION CATALOG] CYFEST 13 International Media Art Festival. St. Petersburg (Russia): Cyland Foundation, catalogue of the exhibition, pp. 52, 124. (rus-eng)
  • [EXHIBITION CATALOG] Mancuso, Marco. “Per un’arte in divenire. L’immaginario macchinico dell’audiovisivo italiano di inizio millennio” [trans. “For an Art in Progress: The Italian Audiovisual Machininc Imaginary at the Beginning of the Millennium”] in Videoarte in Italia. Il video rende felici. [trans. “Videoart in Italy. Video makes us happy”]. Rome: Treccani Editore, 2022. (ita)
  • [CURATORIAL TEXT] “Un artista della domenica” by Elisabetta Modena. Curatorial text for THE ITALIAN JOB n.3 – Lazy Sunday, 2022. (ita-eng)
  • [CURATORIAL TEXT] “Catch Me if You Can” by Sofia Pirandello. Curatorial text for THE ITALIAN JOB n.3 – Lazy Sunday, 2022. (ita-eng)
  • [CURATORIAL TEXT] “L’altra forma delle cose” [trans. “The Other Shape of Things”] by Ilaria Bonacossa. Curatorial text the exhibition L’altra forma delle cose (AAS47692 / Picea abies), 2022. (ita)
  • [ESSAY] Mousse. “Identity between Biological and Digital Codes” by Sabine Himmelsbach, 26 May 2022. (eng)
  • [EXHIBITION REVIEW] Exibart. “L’altra forma delle cose: Emilio Vavarella alla Fondazione Zegna, Valdilana” [trans. “The Other Shape of Things: Emilio Vavarella at the Zegna Foundation”], 2022. (ita)
  • [EXHIBITION REVIEW] Il Corriere della Sera – Style. “Le mostre ed eventi da non perdere” [trans. “The Shows and Events That You Cannot Miss”], 2022 (ita)
  • [EXHIBITION REVIEW] Man in Town. “L’altra forma delle cose: la nuova installazione di Emilio Vavarella a Casa Zegna” [trans. “The Other Shape of Things: Emilio Vavarella’s New Installtion at Casa Zegna”] by Rosamaria Coniglio, 1 July 2022. (ita)
  • [EXHIBITION REVIEW] Juliet. “The Breathing of a Code / Il respiro di un codice” by Piermario de Angelis, June 2022. (ita-eng)
  • [EXHIBITION REVIEW] Artslife. “Memoria vegetale come materiale pulsante: una grande mostra di Emilio Vavarella” [trans. “Plant Memory as a Pulsating Material: A Major Exhibition by Emilio Vavarella”] by Flavinia Severini, 20 May 2022. (ita)
  • [EXHIBITION REVIEW] La Stampa. “L’altra forma delle cose: nell’arte di Emilio Vavarella le due anime della famiglia Zegna” [trans. “The Other Shape of Things: The Two Souls of the Zegna Family in the Art of Emilio Vavarella”] by Simona Romagnoli, June 2022. (ita)
  • [EXHIBITION REVIEW] Il Mattino. “Vavarella porta al Madre i linguaggi di Amazon” [trans. “Vavarella Brings to Madre Museum the Languages of Amazon”] by Paula de Ciuceis, 28 May 2022, p. 36. (ita)
  • [EXHIBITION REVIEW] La Repubblica. “L’algoritmo dell’arte, al Madre l’installazione di Emilio Vavarella” [trans. “The Algorithm of Art: at Madre Museum the Installation of Emilio Vavarella”] by Renata Caragliano e Stella Cervasio, 30 May 2022, pp.8-9. (ita)
  • [PROJECT REVIEW] La Repubblica. “L’artista Vavarella si è filmato in un’intera giornata come tante altre” [trans. “Artist Vavarella Filmed Himself in an Entire Day Like Many Others”] by Nicola Baroni, 2022. (ita)
  • [PROJECT REVIEW] Exibart. “12 ore in soggettiva: la realtà virtuale di Emilio Vavarella alla Casa degli Artisti” [trans. “Twelve Hours in POV: the Virtual Reality of Emilio Vavarella at Casa degli Artisti”], 2022. (ita)

 2021

  • [ACADEMIC PAPER / BOOK CHAPTER] Goriunova, Olga. “Stand-In” in Uncertain Archives. Critical Keywords for Big Data (Ed. by Nanna Thylstrup et al.). Cambridge, MA: MIT Press, 2021. pp. 485-493. (eng)
  • [ACADEMIC / MA THESIS] Università La Sapienza. Silvi, Martina. Le altre animali nell’opera di Art Orienté Object. [trans. “The Other Animals in the Work of Art Orienté Object”]. Department of History, Anthropology, Religion, Art, Spectacle. Lettere e Filosofia, Rome, 2020-21. (ita)
  • [ARTICLE] Ag Cult. Bomba, Federico. “Gli artisti italiani che disegnano il nostro futuro con il digitale” [trans. “The Digital Artists That Draw Our Future With The Digital”] in Ag Cult. 1 February 2021. (ita)
  • [ARTICLE] Artribune. Giacomelli, Marco Enrico. “Best of. I migliori libri pubblicati nel 2020” [trans. “The Best Books Published in 2020”], 1 January 2021. (ita)
  • [ARTICLE] Espoarte. “L’immagine anantropica. Sguardi senza occhi della postfotografia” [trans. “The Un-anthropic Image: The Sights Without Eyes of Post-photography”] by Roberto Lacarbonara, n. 114 (Trimestre n. 3) 2021. (ita)
  • [ARTICLE] Sajetta. Carluccio, Linda. “Non-human visual perspectives / Prospettive visive non umane”, June 2021. (ita-eng)
  • [ARTICLE] Switch Magazine. “Emilio Vavarella”. January 2021. (ita)
  • [ARTICLE] us/them/yours. Fossa, Luca. “Riutilizzo e appropriazione delle immagini digitali” [trans. “Re-use and Appropriation of Digital Images”], May 2021. (ita)
  • [BOOK CHAPTER] Carroll, Henry. “Does visual language limit our view of the natural world?” in Animals. Abrams Books, 2021. (eng)
  • [EXHBITION REVIEW] ARTFORUM. “Critics’ Picks: Emilio Vavarella” by Veronica Santi (Trans. by Marguerite Shore). August 2021. (eng)
  •  [EXHBITION REVIEW] ATP Diary. Bordignon, Elena and Davide Quadrio. “L’arte come messaggera di possibilità. Emilio Vavarella in mostra ad Arthub, Shanghai” [trans. “Art as a Messenger of Possibilities: Emilio Vavarella’s Exhibition at Arthub, Shanghai”], 12 January 2021. (ita)
  • [EXHBITION REVIEW] ATP Diary. Piselli, Guendalina. “Emilio Vavarella – rs548049170_1_69869_TT (The Other Shapes of Me): Sourcecode | Gallleriapiù, Bologna”, 10 June 2021. (ita)
  • [EXHBITION REVIEW] Exibart. D’Argenio, Vincenzo. “Emilio Vavarella, Sourcecode – Gallleriapiù” in Exibart, 3 july 2021. (ita)
  • [EXHBITION REVIEW] Juliet. Zanoni, Emanuela. “Emilio Vavarella. rs548049170_1_69869_TT (The Other Shapes of Me)” in Juliet, 21 June 2021. (ita)
  • [EXHBITION REVIEW] Mousse. “Emilio Vavarella “rs548049170_1_69869_TT (The Other Shapes of Me): Sourcecode” at GALLLERIAPIÙ, Bologna” July 2021. (eng)
  • [EXHIBITION CATALOGUE] Hutchinson, James. Undocumented events and object permanence. Catalogue of virtual exhibition. Noemata.net, 2021. (eng)
  • [EXHIBITION CATALOGUE] Zechini, Alessandro (ed. by). Grandi Collezioni 02: Collezioni Ghigi. Museo Licini, Galleria d’Arte Contemporanea, catalogue of exhibition, 2021. (ita)
  • [PROMOTIONAL CAMPAIGN] ArtITude. “Lorenzo Balbi Presents Emilio Vavarella” by Italian Trade Agency, Ministry of Economic Development, 29 November 2021. (ita-eng)
  • [VIDEO] Emilia-Romagna Creativa. Video interview by Carmine Caputo “L’Emilia Romagna per l’arte contemporanea: Emilio Vavarella” [trans. “The Emilia-Romagna Region for Contemporary Art: Emilio Vavarella”], 24 June 2021. (ita)

2020

  • [ACADEMIC PAPER / BOOK CHAPTER] FitzGerald, Lisa. “Synthetic landscapes, Google Street View and other-than-human agency” in Digital Vision and the Ecological Aesthetic (1968 – 2018). London: Bloomsbury, 2020, pp. 39-55. (eng)
  • [ACADEMIC PAPER]Costa, F: “To Be or Not To Be – a Data Set. Art, Technology and Identity in the New Informational Order” in EAI Endorsed Transactions on Creative Technologies (European Union Digital Library), vol. 7, Issue 22, 2020, pp. 1638-48. (eng)
  • [ACADEMIC / PHD DISSERTATION] Brno University of Technology. “DIY Technologies in Digital Sculpture” by Dušan Váňa, Advisor: Michal Gabriel, Faculty of Fine Arts – Sculpture Studio, Czech Republic, 2020. (cze)
  • [ACADEMIC / MA THESIS] Universiteit Utrecht. van Voorst, A. De mens-machine en het antropocen [trans. “The Man-Machine and the Anthropocene”]. MA Thesis, Kunstgeschiedenis, Universiteit Utrecht, The Netherlands, 2020. (nld)
  • [ARTICLE] Artslife – Fotoromanzo. “Emilio Vavarella: arte, errori e tecnologia. Una costante messa in discussione” [trans. “Emilio Vavarella: Art, Errors and Technology. A Relentless Questioning”]. By Andrea Tinterri, May 2020. (ita)
  • [ARTICLE]La Gazzetta del Mezzogiorno. “Il DNA intrecciato dagli antichi telai” [trans. “DNA Woven on Ancient Looms”], 9 January 2020, XXVII. (ita)
  • [BOOK CHAPTER]Biasini Selvaggi, Cesare. “Mondi alternativi e nuove tecnologie. L’ibridazione arte-scienza nell’era delle tecnologie immateriali dell’informazione” [trans. “Alternative Worlds and New Technologies. The Art-Science Hybridization in the Age of Immaterial Informatic Technologies”] in Fasten Your Seatbelt. Arte, critica e contemporaneità. Metronom Books (Modena, Italy), 2020, pp.15-72. (ita)
  • [EXHBITION REVIEW] Artribune. “Emilio Vavarella in mostra nel Salento estremo” [trans. “Emilio Vavarella on Show in the Deep Salento”] by Lorenzo Madaro, August 2020. (ita)
  • [PROJECT REVIEW] Neural. “MNEMOSCOPIO and rs548049170_1_69869_TT (The Other Shapes of Me).” Issue 67, Autumn 2020. (eng)
  • [PROJECT REVIEW] ATP Diary. “Dall’identità alle geografie artigianali: un progetto di Emilio Vavarella a Gagliano del Capo” [trans. “From Identity to Artisanal Geographies: A Project by Emilio Vavarella in Gagliano del Capo”] by Lorenzo Madaro, August 2020. (ita)
  • [PROJECT REVIEW] ATP Diary. “MNEMOSCOPIO di Emilio Vavarella: un’installazione d’arte pubblica” [trans. “Emilio Vavarella’s MNEMOSCE: A Public Art Installation”] by Irene Angenica, March 2020. (ita)
  • [PROJECT REVIEW] ATP Diary. “rs548049170_1_69869_TT (The Other Shapes of Me) | Un progetto di Emilio Vavarella” by Elena Bordignon, 10 July 2020. (ita-eng)
  • [PROJECT REVIEW] Gli Stati Generali. “The Other Shapes of Me di Emilio Vavarella. Tecnologia e tradizione in Puglia” [trans. “Emilio Vavarella’s The Other Shapes of Me: Technology and Tradition in Puglia”] by Zara Audiello, Septembre 2020. (ita)

2019

  • [ACADEMIC / BA THESIS] Leeds Art University – BA Photography. “What Can Machine Readable Photography Teach Us About Artificial Intelligence?” by Thomas Griffiths, Advisor: Philip Welding, Leeds, UK, 2018-‘19. (eng)
  • [ACADEMIC / MA THESIS] Accademia di Belle Arti Roma – Comunicazione e valorizzazione del patrimonio artistico. “New media art, blockchain e mercato” by Eugenia de Francesco, Roma, Italy, 2019. (ita)
  • [ACADEMIC / MA THESIS] Royal Academy of Fine Arts Antwerp. “The influence of digital and robotic techniques on sculpture’ by Bram Rinkel. Advisor: Ria de Boodt. Antwerp, Belgium, 2018/19. (eng)
  • [ACADEMIC / MA THESIS] Università Cattolica del Sacro Cuore – Storia dell’arte. “L’uso dell’intelligenza artificiale nelle opere artistiche interattive” [trans. “The Use of Artificial Intelligence in Interactive Artworks”] by Alessandra Van Zwam, Milan, Italy. (ita)
  • [ACADEMIC PAPER]Frahm, Laura. “What the Water Said, Nos. 1-3 (1998)” in Filmische Moderne: 60 Fragmente (Ed. by Olivier Frahle et al.). Bielefeg (Germany): transcript, 2019, pp. 315-322. (ger)
  • [ACADEMIC PAPER] Arnaud, Jean, Damien Beyrouthy, Christine Buignet, Anna Guilló, Bruno Goosse, et al. “Images en tr@nsit territoires et médiums” [trans. “Images in Transit Territories and Mediums] in Carnet recherche du LESA – Laboratoire d’Etudes en Sciences des Arts (EA 3274), Aix-Marseille Université, 2019. (fre)
  • [ACADEMIC PAPER] FitzGerald, Lisa. “Google Street View: Digital Mapping, Glitching and Social Documentary” in Représentations, Mapping Mobility – Cartographies en mouvement, Université Grenoble Alpes, July 2019, pp. 95-107. (fre)
  • [ACADEMIC PAPER] Kronman, Linda. “The deception of an infinite view – exploring machine vision in digital art” in Politics of the Machines: Art / Conflict – Proceedings of POM Beirut 2019, pp. 70-77. (eng)
  • [ARTICLE] Harvard CMP – Blog. “Emilio Vavarella awarded prestigious Italian Council award”, July 2019. (eng)
  • [ARTICLE] Popula. “The Faces of Google Street View” by Sophie Haigney, 2019. (eng)
  • [ARTICLE] Sculpture Network. “Sculpture in Bologna: The Arte Fiera 2019” by Nicola Valentini, 2019. (ita-eng)
  • [ARTICLE] Spectate. “Интернет животных. Спор вокруг” [trans. “A Conversation About Animal Internet”] by Ivan Streltsov, November 2019. (rus)
  • [ARTICLE] Biasini Selvaggi, Cesare (Edited by). “Emilio Vavarella” in 222 Artisti su cui investire, 2019. Rome: Exibart Edizioni, p. 229. (ita-eng)
  • [BOOK CHAPTER] Boeddhistisch Dagblad. “Boeken – wat we van robots kunnen leren over liefde” [trans. “Books: What Can We Learn From Robots About Love?”], 2018. (nl)
  • [CRITICAL TEXT] La Foresta. Itinerari nell’arte contemporanea. “Un impero è caduto” [trans. “An Empire Has Fallen”] by Andrea Tinterri, n. 1, Parma (Italy): Nuova Editrice Berti, 2019. (ita)
  • [EXHIBITION CATALOGUE] Rosati, Colin, Sahar Te and Sara Wylie. “Liminal States” in Images Festival, 2018. (eng)
  • [EXHIBITION CATALOGUE] Premio Combat Prize 2019. “Qui e Ora / Here and Now” by Daniele de Luigi. Livorno: Sillabe, 2019. (ita-eng)
  • [EXHBITION REVIEW] Afterimage: The Journal of Media Arts and Cultural Criticism. “Exhibition Review: All I Know Is What’s On The Internet” by Harriet Riches, vol. 46 no. 1, March 2019, pp. 47-52. (eng)
  • [EXHBITION REVIEW] Art Monthly. “Low Form: Imaginaries and Visions in the Age of Artificial Intelligence’ by Agnieszka Gratza, n. 422, Dec-Jan 2018-‘19. (eng)
  • [EXHBITION REVIEW] Artribune Magazine. “Low Form” by Lorenzo Taiuti, #47, January-February 2019. (ita)
  • [EXHBITION REVIEW] FAD Magazine. “Low Form(s) when in Rome” by Giulia Trojano, 2018. (eng)
  • [EXHBITION REVIEW] Segno. “Low Form” by Maila Buglioni, Anno XLIV, February 2019, n. 271. (ita)
  • [EXHBITION REVIEW] The New Scientist. “All I Know is What’s on the Internet review: The shocks don’t work” by Lydia Nicholas, 2019. (eng)
  • [EXHBITION REVIEW] Widewalls. “Contemporary Art in the Age of Artificial Intelligence at MAXXI Rome” by Balasz Takac, 2019. (eng)
  • [PRESS COVERAGE] Artslife. “Arte e digitale: ‘Alexa, facciamo un’opera’ ” [trans. “Art and Digital: ‘Alexa, Let’s Make an Artwork’”], October 2019. (ita)
  • [PRESS COVERAGE] Il Corriere della Sera. “Al MAXXI di Roma la prima mostra sull’intelligenza artificiale” [trans. “At MAXXI Museum in Rome the First Exhibition About Artificial Intelligence”] by Giulia Cimpanelli, 2019. (ita)
  • [PRESS COVERAGE] Il Manifesto – Alias. “Emilio Vavarella”. Print edition, 9 November 2019. (ita)
  • [PRESS COVERAGE] Il Sole 24 Ore. “La simulazione digitale dà vita al Simrealismo” [trans. “The Digital Simulation Gives Life to Sim-reality”] by Luca De Biase, 2018. (ita)
  • [PRESS COVERAGE] La Freccia. “Il Senso del bello” [trans. “The Sense of Beauty”] by Cesare Biasini Selvaggi, 2019. (ita)
  • [PROJECT REVIEW] Balloon Projects. “Art+b=love(?)!” by Anna Papale, 2019. (ita)
  • [PROJECT REVIEW] Man in Town. “Art Verona highlight: Amazon’s cabinet of curiosities di Emilio Vavarella” by Lorenzo Sabatini. (ita)

2018

  • [ACADEMIC PAPER / BOOK CHAPTER] Costa, Flavia. “Nuestros Datos, ¿Nosotros Mismos?” [trans. “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)
  • [ACADEMIC PAPER / PEER REVIEW] Agostinho, Daniela. “Chroma key dreams: Algorithmic visibility, fleshy images and scenes of recognition” in Philosophy of Photography(Intellect), vol. 9 (2), 2018, pp. 131-155. (eng)
  • [ACADEMIC PAPER / PEER REVIEW] Luna, Sergio and Yasmina Morán Conesa. “Cómo desaparecer del mapa: un caso práctico de disidencia online” [trans. “How to Disappear from the Map: A Practical Case of Online Dissidence”] in AusArt Journal for Research in Art, vol.6, n.2, 2018, pp. 9-21. (spa)
  • [ARTICLE] SottoboscoDigitale: Artisti Digitali Italiani. “Emilio Vavarella, Oltre Black Mirror” [trans. “Emilio Vavarella: Beyond Black Mirror”] by Valeria Crisafulli, 2018. (ita)
  • [ARTICLE] SottoboscoDigitale: Artisti Digitali Italiani. “Emilio Vavarella, Questione di Memoria” [trans. “Emilio Vavarella: A Question of Memory”] by Valeria Crisafulli, 2018. (ita)
  • [ARTICLE] Biasini Selvaggi, Cesare (Edited by). “Emilio Vavarella” in 222 Artisti su cui investire, 2018. Rome: Exibart Edizioni, p. 227. (ita-eng)
  • [EXHIBITION CATALOGUE] “Emilio Vavarella” in #LAYERS. Contemporary Art in the Digital Era, iMAL Center for Digital Cultures and Technology and LINK Art CENTER, Brescia (Italy): LINK Editions, 2018, pp. 68-71. (ita-eng)
  • [EXHBITION REVIEW] ATP Diary. “LOW FORM Imaginaries and Visions in the Age of Artificial Intelligence | MAXXI, Roma” by Serena Schioppa, 2018. (ita)
  • [EXHBITION REVIEW] Atribune. “Low Form. Arte digitale in mostra al Maxxi di Roma” by Lorenzo Taiuti, 2018. (ita)
  • [EXHBITION REVIEW] Flash Art. “That’s IT!” by Federico Sargentone. 2018 (ita)
  • [EXHBITION REVIEW] Frieze. “The New Breed of Artist Exploring Society’s Digital Consciousness” by Rachel Falconer, 2018. (eng)
  • [EXHBITION REVIEW] Frieze. “What Role Do Photographers Play in an Increasingly Automated Image Culture?” by Hettie Judah, 2018. (eng)
  • [EXHBITION REVIEW] Il Manifesto. “L’arte esplora l’inconscio delle macchine” [trans. “Art Explores the Machinic Unconscious”], 2018. (ita).
  • [EXHBITION REVIEW] Lens Culture. “All I Know is What’s on The Internet” by Ben Dickenson Bampton, 2018. (eng)
  • [EXHBITION REVIEW] Mousse Magazine. “That’s IT! at MAMbo, Bologna,” 2018. (eng)
  • [EXHBITION REVIEW] WIRED (UK Edition). “These photos capture the invisible workers of the internet,” 2018. (eng)
  • [PRESS COVERAGE] Archipanic. “Robot Love: Exploring Our Most Intimate Relationship with Intelligent Machines,” 2018. (ita)
  • [PRESS COVERAGE] ArtBlitz. “That’s IT! Ecco dov’erano finiti i trentenni” [trans. “That’s IT! Here’s Where the Thirty-Year-Old Were”], 2018. (ita)
  • [PRESS COVERAGE] Artribune. “L’Italia alla Off Biennale Cairo 2018,” 2018. (ita)
  • [PRESS COVERAGE] Atribune. “Low Form. Arte digitale in mostra al Maxxi di Roma” [trans. “Low Form: Digital Art on Show at Rome’s MAXXI Museum”] by Lorenzo Taiuti, 2018. (ita)
  • [PRESS COVERAGE] Exibart. “Diario di una Biennale al Cairo” [trans. “Diary of a Biennale in Cairo”] (in 5 parts), by Elena Giulia Abbiatici, 2018. (ita)
  • [PRESS COVERAGE] Exibart. “Il volto dell’intelligenza artificiale” [trans. “The Face of Artificial Intelligence”], 2018. (ita)
  • [PRESS COVERAGE] Exibart. “Lopera d’arte nell’epoca dell’IA.” [trans. “The Work of Art in the Epoch of Artificial Intelligence”], 2018. (ita)
  • [PRESS COVERAGE] Il Corriere della Sera. “L’intelligenza artificiale in mostra.” [trans. “Artificial Intelligence on Show”], 2018. (ita)
  • [PRESS COVERAGE] Il Giornale delle Fondazioni. “Arrestare il sistema. Il caleidoscopio digitale del MAXXI punta sull’artificial intelligence” [trans. “Arresting the System. MAXXI Museum’s Digital Kaleidoscope Bets on Artificial Intelligence”], 2018. (ita)
  • [PRESS COVERAGE] LaRepubblica. “Ibridi e hi-tech i giovani pittori dell’intelligenza artificiale al Maxxi di Roma” [trans. “The Young Painters of Artificial Intelligence at Rome’s MAXXI Museum are Hybrid and High-Tech”], 2018. (ita)
  • [PRESS COVERAGE] The Huffington Post (Italian Edition). “Low Form, la mostra al Maxxi è un viaggio nell’immaginario surreale degli artisti di oggi” [trans. “Low Form, the Exhibition at MAXXI Museum is a Trip in the Surreal Imaginary of Todays’ Artists”], 2018. (ita)
  • [PRESS COVERAGE] TK21. “Art Brussels 2018” by Dominque Moulon, 2018. (eng)
  • [PRESS COVERAGE] WIRED (Italian Edition). “Low Form, l’arte al tempo dell’Ai in mostra al Maxxi” [trans. “Low Form, Art in the Age of AI on Show at MAXXI Museum”], 2018. (ita)
  • [PROJECT REVIEW] Il Sole24Ore (Postcinema). “Animal Cinema” by Simone Arcagni, 2018. (ita)

2017

  • [ACADEMIC / BA THESIS] Novia University of Applied Sciences. Gölin, Eva-Teréz. Holy Grail. BA Thesis in Media Culture, Photography, Jakobstad (Finalnd), 2017. (fin)
  • [ACADEMIC / BA THESIS] University of Barcelona. Llanas Sancho, Cristina. El Glitch art com a pràctica subversive [trans. “Glitch Art as a Subversive Practice]. BA in Art History, Faculty of Geography and History, 2017. (spa)
  • [ACADEMIC / PHD DISSERTATION] Curtin University. Coleman, Sheridan. Internet Explorer: The Creative Administration of Digital Geography. Ph.D. Dissertation, School of Humanities, Department of Art, 2017. (eng)
  • [ACADEMIC PAPER / PEER REVIEW] Studi Culturali. “La specie è un ossimoro” [trans. “The ‘Species’ is an Oximoron] by Federica Timeto. Bologna: Il Mulino, 2017. (ita)
  • [BOOK] Yetiskin, Ebru. “Bir Armagan Sanati Olarak Video: Ulus Baker’in Notlariyla Video Sanati” [trans. “Video as a Gift: Video Art with the Notes of Ulus Baker”] in Belgesel / Kisa Film / Video Sanati. [trans. “Documentary / Short Film / Video Art”] (Ed. by Nagehan Çakar Bikiç and Ferhat Özgür). Doruk, 2017, pp. 197-222. (tur)
  • [CRITICAL TEXT] Technoculture. (Unità di Ricerca sulle Tecnoculture, Università degli Studi di Napoli ‘L’Orientale’). “Di cosa parlano i chatbot quando parlano fra loro?” [trans. “What Do Chatbots Chat About When They Talk to Each Other?”], 2017. (ita)
  • [CURATORIAL TEXT]“RE-CAPTURE: Room(s) for Imperfection” by Federica Patti, 2017. (ita-eng)
  • [EXHIBITION CATALOGUE] Londono, Felipe César and Mauricio Mejía (ed. by). “The Digital Skin Series” in ISEA2017 – 23rd International Symposium on Electronic Art + XVI Festival Internacional de la Imagen, Universidad de Caldas and ISEA International, 2017, p. 25. (eng)
  • [EXHIBITION CATALOGUE] 30th Stuttgarter Filmwinter – Festival of Expanded Media, “Do You Like Cyber?” Stuttgart: MFG Medien- und Filmgesellschaft, Germany, 2017, p. 101. (ger-eng)
  • [EXHBITION REVIEW] Artibune. “Errori e tecnologia: Emilio Vavarella a Bologna” [trans. “Errors and Technology: Emilio Vavarella in Bologna”], 2017. (ita)
  • [EXHBITION REVIEW] Exibart. “Emilio Vavarella, Re-Capture: Room(s) For Imperfection” 2017 (ita).
  • [EXHBITION REVIEW] Juliet Art Magazine. “Emilio Vavarella: RE-CAPTURE: Room(s) for Imperfection” 2017. (ita-eng)
  • [EXHBITION REVIEW] Wall Street International Magazine. “Re-Capture. Room (s) for Imperfection. Solo show di Emilio Vavarella” 2017. (ita)
  • [PROJECT REVIEW] Adnkronos. “Animali registi: immagini mai viste in documentario” [trans. “Animals as Film Directors: Images Never Seen Before in a Documentary”], 2017. (ita)
  • [PROJECT REVIEW] Artribune. “Animal Cinema: quando dietro la telecamera non c’è l’occhio umano” [trans. “Animal Cinema: When Behind the Camera There Isn’t a Human Eye”], 2017. (ita)
  • [PROJECT REVIEW] Cinelapsus. “Animal Cinema di Emilio Vavarella,” 2017. (ita)
  • [PROJECT REVIEW] Il Fatto Quotidiano. “Animal Cinema, quando cani, polipi, scimmie e orsi diventano registi di un film” [trans. “Animal Cinema: When Octopi, Monkeys and Bears Become Film Directors”], 2017. (ita)
  • [PROJECT REVIEW] Neural. “The Digital Skin Series.” Vol.55, centerfold, 2017, pp. 28-29. (eng)

2016

  • [ACADEMIC / BOOK] The New Aesthetic and Art: Constellations of the Postdigital, edited by Scott Contreras-Koterbay and Lukasz Mirocha, Institute of Network Cultures, 2016. (eng)
  • [ACADEMIC PAPER / PEER REVIEW] ETC MEDIA, “La photographie avalée par le numérique” [trans. “Photography Swallowed by the Digital”], by Sylvain Campeau, v. 106, Fall/Winter 2015. (fra)
  • [ACADEMIC PAPER / PEER REVIEW] Giusti, Sergio. “Earth e Street View Photography: esplorazioni e derive come brandelli della mappa sull’impero del codice” [trans. “Earth and Street View Photography: Exploring and Drifting as Shreds of the Map in the Coding Empire”] in rsf rivista di studi di fotografia. Florence (Italy): University of Firenze Press, n. 4, 2016, pp. 68-86. (ita)
  • [ARTICLE] Le Monde – Big Browser, “Avez-vous déjà vu les mutants de Google Street View?” [trans. “Have You Ever Seen Google Street View Mutants?”], 2016. (fre)
  • [CRITICAL TEXT] Exibart, “La meglio Gioventù: Azioni” [trans. “The Best Generation: Actions”] by Andrea Bruciati, 2016. (ita)
  • [EXHBITION REVIEW] Areo, “Orizzonti Mobili” [trans. “Mobile Horizons”] by Carlo Sala, Speciale Cultura 6, n. 52, 2016, pp. 158-160. (ita)
  • [EXHIBITION CATALOGUE] Memorie: Arte, Immagini e Parole del Terremoto in Friuli, [Memories,: Art, Images and Words of the Friuli Earthquake]. Milan: Skira Editore, 2016. (ita)
  • [EXHIBITION CATALOGUE] 30th Stuttgarter Filmwinter – Festival of Expanded Media, “The CAPTCHA Project” Stuttgart (Germany): MFG Medien- und Filmgesellschaft, 2016, p. 98. (ger-eng)
  • [EXHIBITION CATALOGUE] ISEA2016 香港Cultural R>evolution“The CAPTCHA Project” (Ed. by Kraemer, Harald, Daniel C. Owe, and Kyle Chung). School of Creative Media, City University of Hong Kong, pp. 278-279. (eng)

2015

  • [ACADEMIC / PEER REVIEW]Nahirny, Rafał. “Nadnaturalny horror w Google Street View. Estetyka niepokoju a obrazy ładu w przestrzeni miejskiej” [trans. “Supernatural horror in Google Street View. Aesthetics of anxiety versus images of order in urban space”] in Studia Etnologiczne i Antropologiczne, 2015 (15), pp.65-80. (pol)
  • [ACADEMIC / PEER REVIEW] Hoelzl, Ingrid and Rémi Marie. “Google Street View: Navigating the Operative Image” in Visual Studies. Milton Park: Routledge, vol. 29, v. 3, pp. 261-271. (eng)
  • [ACADEMIC / PHD DISSERTATION] IULM University. Mele, Paolo. “New Media Art Experience: Media digitali, forme e contesti della produzione artistica contemporanea” [trans. New Media Art Experience: Digital Media, Forms and Contexts of Contemporary Artistic Production]. Ph.D. Dissertation in Communication and New Technologies, Milan, Italy. (ita)
  • [ARTICLE] GAI – Giovani Artisti Italiani. “Il Progetto. L’intervista. Il Resoconto” [trans. “The Project. The Interview. The Reportage”] by Valeria Lacarra. 2015. (ita)
  • [ARTICLE] Yahoo Tech, “10 Years of Google Maps, 10 Years of Google Maps Hacks”, by Rob Walker (eng).
  • [EXHIBITION CATALOGUE] Data Improvisations, “MEMORYSCAPES.” Official Catalogue VISAP’15, p. 21. (eng)
  • [EXHIBITION CATALOGUE] ISEA 2015 Official Catalogue, “Art and Disruption,” by Kate Armstrong, 2015, p. 73. (eng)
  • [EXHIBITION CATALOGUE] Re-Building the Future, “Emilio Vavarella and The Sicilian Family” by Andrea Bruciati. Caltanissetta (Italy): Lussografica. Exhibition Catalogue, 2015, pp. 115-118. (ita-eng)
  • [EXHIBITION CATALOGUE] 18th Japan Media Arts Festival, “The CAPTCHA Project: Emilio Vavarella.” Tokyo, Japan: Japan Media Arts Festival Executive Committee, 2015, p. 62. (jap-eng)
  • [PROJECT REVIEW] Artnoise, “Un’opera creata digitalmente con immagini di opere rubate…realmente” [trans. “A Digitally Created Artwork with Images of Stolen Artworks”] by Lucia Longhi, 2015. (ita)
  • [PROJECT REVIEW] INTERARTIVE, “THE ITALIAN JOB”, by Monica Bosaro and Emma Stanisic, special issue: Original vs. Copy, n. 75. (eng)

2014

  • [ACADEMIC / PEER REVIEW]Avezado da Trinidade, Elaine Cristina. “A flânerie virtual e os novos caminhos para a arte na cidade” [trans. “Virtual Flânerie and New Paths for Art in the City”] in Anais do VII Seminario Nacional de Pesquisa em Arte e Cultura Visual (Ed. by Chaud, Eliane Maria and Thiago Fernando San’tAnna). Goiânia-GO: UFG, FAV, 2014, pp. 39-47. (spa)
  • [ACADEMIC / PEER REVIEW] Digital Creativity. “Art Space: ACM SIGGRAPH Art Gallery 2014” by Sue Gollifer, Milton Park: Routledge, Volume 25, Issue 4, 2014, pp. 360-368. (eng)
  • [ARTICLE] MASHABLE. “Evocative Artists Inspired by Google Street View” by Yohana Desta. (eng)
  • [ARTICLE] WIRED Japanese edition. “Enhanced Vision” by Kei Wakabayashi, magazine, vol. 13, September 2014. (jap)
  • [CRITICAL TEXT] ARTFORUM. “Fair Game. Martha Buskirk on Networked Photography and Copyright.” Magazine, summer 2014, vol. 52, n. 10. (eng)
  • [CRITICAL TEXT] INTERARTIVE. “The Wilderness In The Machine: Glitch and the Poetics of Error” by Christin Grammatikopoulou, n. 59: Art, Politics, Technology, 2014. (eng)
  • [CURATORIAL TEXT]“A Question of Stealing.” Curatorial text by Emma Stanisic for The Italian Job n.2: An-Archiving Game, 2014. (eng)
  • [CURATORIAL TEXT] “ITALIANS ON THE JOB: Inside and Outside an Anarchival Impulse.” Curatorial text by Monica Bosaro for The Italian Job n.2: An-Archiving Game, 2014. (eng)
  • [CURATORIAL TEXT]“The Italian Job. Italian Theory and The Art of Trolling.” Curatorial text by Lucrezia Calabrò Visconti for The Italian Job n.1: embarrassment party, 2014. (eng)
  • [EXHIBITION CATALOGUE] Autonomije. Novi Sad: Institut za leksibilne kulture i tehnologije – Napon, and Muzej savremene umetnosti Vojvodine Zavod za kulturu Vojvodine [trans. “Institute for Flexible Cultures and Technologies – Napon, and Museum of Contemporary Art of Vojvodina Institute of Culture of Vojvodina”], 2014. (ser-eng)
  • [EXHIBITION CATALOGUE] EMAF 27th European Media Arts Festival, “The Google Trilogy: Emilio Vavarella.” Osnabrueck, Germany, 2014, 2014, pp. 160-161. (ger-eng)
  • [PROJECT REVIEW] Folha De S.Paulo. “Artista busca erros no Street View durante um ano e monta coletânea” [trans. “Artist Searches for Errors in Street View for a Year and Assembles a Collection”], by Bruno Romani. (por)
  • [PROJECT REVIEW] INTERARTIVE. “The Google Trilogy,” Special Issue #50: Art & Copyright. (eng)
  • [PROJECT REVIEW] LaRepubblica. “Quando la tecnologia è imperfetta: le foto sbagliate di Google Street” [trans. “When Technology is Imperfect: The Wrong Photos of Google Street View”] by Marzia Papagna, 20 January 2014. (ita)
  • [PROJECT REVIEW] MASHABLE. “Artist Finds Beauty in Google Street View Glitches” by Laura Vitto, 2014. (eng)
  • [PROJECT REVIEW] WIRED, Japanese Edition. “Incredible Glitches from Google Street View” by Mayumi Irai/Galileo, 2014. (jap)

2011-2013

  • [EXHIBITION CATALOGUE] Mediterranea16 – Young Artists Biennial (BJCEM), Errors Allowed, “Emilio Vavarella: Digital Pareidolia. A Personal Index of Facebook’s Erroneous Portraits.” Macerata: Quodilibet, 2013. (ita-eng)
  • [EXHIBITION CATALOGUE] Paderni, Marinella. “Error’s Charm” in Lapsus. Florence (Italy): Fondazione Studio Marangoni, 2013, pp. 8-9, 40-41. (eng)
  • [EXHIBITION CATALOGUE] 96ma Collettiva Giovani Artisti. “Emilio Vavarella.” Venice (Italy): Fondazione Bevilacqua La Masa, 2012-‘13, pp. 50-51. (ita-eng)
  • [EXHIBITION REVIEW] The Huffington Post. “Emoji Art Reveals the Dark Side of the Smiley Face” by Bianca Bosker. (eng)
  • [PROJECT REVIEW] Courrier International. Groupe Le Monde“Tendences: Aux frontières du réel” [trans. “Trends: At the Edge of Reality”]. Magazine, n. 1211. (fra)
  • [PROJECT REVIEW] The Huffington Post. “Google Street View Glitches Become Beautiful Art.” (eng)
  • [PROJECT REVIEW] WIRED Italian Edition. “Street View, Google abbiamo un problema” [Trans. “Street View: Google, We Have a Problem”] by Simone Cosimi. (ita)
  • [PROJECT REVIEW] WIRED. “7 Cute and Clever Art Pieces Made Using Emoji” by Liz Stinson. (eng)
  • [PROJECT REVIEW] WIRED. “These Glitches from Google Street View Are Worthy of an Art Gallery” by Kyle Vanhemert. (eng)

CO-ORGANIZED TALKS, CONFERENCES AND ROUND TABLES

  • 2023 | Towards a Self-Reproducing Landscape: Leisure, Automation, and the Politics of Space. Cycle of three round tables held at Centro Pecci for Contemporary Art, Prato, (Italy) and online. Public program organized in collaboration with Fosbury Architecture, (ab)Normal, Captcha Studio, and the 2023 Venice Biennale of Architecture (Italian Pavilion):
    • After Leisure: Architecture of Politics? (14 July)
    • Radical Leisure (14 September)
    • Welcome to the Self-Replicating Landscape (17 November 2023)
  • 2020-’21 | The Other Shapes of Art. Cycle of three round tables organized in collaboration with Ramdom association:
    • Italian Institute of Culture – NYC, “Towards Other Shapes of Art,” (16 March 2021)
    • Modern Art Base Shanghai, “Errors, Limits, and Malfunctions,” (28 February 2021).
    • Palazzo Guerrieri, Brindisi, “Arte, DNA, tessitura e tecnologie al femminile,” (January 2020).

PRESENTATIONS AT CONFERENCES AND ARTIST TALKS

2023

  • Harvard Horizons Symposium. “Techniques and Technologies of Thought: A Short History of Media Models.” Sanders Theatre, Harvard University, Cambridge, MA, USA.
  • Centro Pecci for Contemporary Art + Venice Biennale of Architecture (Italian Pavilion). Towards a Self-Reproducing Landscape. “Welcome to the Self-Replicating Landscape”. 17 November 2023, Prato, Italy and online.
  • 19th Annual Broad Retreat. “The Other Shapes of Us” Hynes Convention Center, Art and Science Connection, Boston, USA.
  • Accademia di Belle Arti di Napoli. “Emilio Vavarella: Attraverso l’Immagine.” Teatro dell’Academia, Napoli, Italy.

2022

  • Broad Institute of MIT and Harvard. “On Artistic Research” Broad Institute, Cambridge, MA, USA.
  • Madre Museum of Contemporary Art. “Emilio Vavarella: Amazon’s Cabinet of Curiosities: Algorithmic Inquiry n.4.” In conversation with Giuliana Bruno and Gianluca Riccio, in collaboration with Accademia di Belle Arte di Napoli, Naples, Italy
  • University of Milan + Pirelli Hangar BicoccaImmersed in the Work: From Environment to Virtual Reality, “Other Points of View: The Italian Job n.3, Lazy Sunday”, Milan, Italy

2021

  • Hermitage Museum. “Between Form and Information”, artist talk for CYFEST-13, St. Petersburg, Russia (eng-rus)
  • Harvard Advanced Leadership Initiative. “Artistic Research in the Age of Technological Innovation.” Cambridge, MA, USA. (online)
  • Wellesley College. Artist talk for “Dream Narratives” with Efe Murat Balıkçıoğlu, Wellesley, MA, USA. (online)
  • Meet Digital Culture Center. “Artificial Intelligence in the Creative Process.” Artist talk for AI4Future, Milan, Italy. (online)
  • Neu Radio. “Flash Forward: Interferenze culturali dal futuro.” Web radio, in collaboration with ART-ER, Italy. (online)
  • Modern Art Base. “Emilio Vavarella: The Other Shapes of Me. Virtual dialogue with Wang Weiwei and Ren Jie.” Shanghai, China.
  • Istituto Italiano di Cultura – New York. “The Other Shapes of Art: Emilio Vavarella in dialogue with Ramdom, Stephen Monteiro and Ursula Wolz.” New York City. (online)
  • mudaC – Museo delle Arti di Carrara. “Del contemporaneao. Linguaggi, pratiche e fenomeni dell’arte del XXI secolo: Marco Mancuso in conversazione con Emilio Vavarella.” Moderated by Laura Barreca, Italy (online)
  • Società Umanitaria Milano. “Lo spazio dell’arte: co-abitazioni possibili. Emilio Vavarella in conversazione con Andrea Tinterri.” Italy. (online)
  • Spazi Fotografici. “Metafotografia – Oltre il medium: BACO in dialogo con Di Noto, Fenara, Sambini e Vavarella.” Livorno, Italy. (online)

2020

  • Digitalks. Eventi OFF – ICT Meets the Arts. “Tecnologia e Pratica Creativa: Emilio Vavarella dialoga con Francesca Fiocchi e Luca Baraldi”. Moderated by Marco Mancuso. (online)
  • Digitalks. Eventi OFF – ICT Meets the Arts. “Arte, Ricerca, Impresa: Emilio Vavarella in dialogo con Stefano Torelli e Silvia Montanari”. Moderated by Marco Mancuso. (online)
  • Transart Festival – Futurological Congress. “On cyberbots, Internet animals and mechanical life: discussing the theory and practice of artistic research” artist talk moderated by Peter Kirn and Chris Salter (online)
  • CLIC Conference – Northeastern University, School of Law. “Art and Impact: Techno-Creativity, Justice and Our Shared Future” panel with Halsey Burgund, Sarah Newman, Francesca Panetta, moderated by Jessica Silbey (online)
  • The Other Shapes of Art: Arte, DNA, tessitura e tecnologie al femminile. Public talk, Palazzo Guerrieri, Brindisi, Italy
  • Gamma Festival – Gamma_ONSCREEN. Artist talk curated by Natalia Fuchs, Saint Peterburg, Russia (online)
  • F4 – Fotografia Talks. Art talk moderated by Carlo Sala, Fondazione Fabbri (online)
  • FASTEN YOUR SEATBELT: ARTE, CRITICA E CONTEMPORANEITA’. “Mondi alternativi e nuove tecnologie. L’ibridazione arte-scienza nell’era delle tecnologie immateriali dell’informazione”. Emilio Vavarella in conversation with Cesare Biasini Selvaggi (Exibart) and Marcella Manni (Metronom), 21 December 2020. (online)

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, artist talk moderated by Basak Senova, Vancouver Convention Center, Canada