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BIOGRAPHY & CV

Emilio Vavarella is an Italian artist working at the intersection of interdisciplinary art practice, theoretical research and media experimentation. His work explores the relationship between subjectivity, nonhuman creativity and technological power. It is informed by the history of conceptual art, digital and network cultures, and new media practices. Vavarella moves seamlessly between old and new media, and exploits technical errors and other unpredictabilities to reveal the logic and the hidden structures of power.

Esteemed venues that have exhibited Vavarella’s work include: MAXXI – Museo nazionale delle arti del XXI secolo; KANAL – Centre Pompidou; Hermitage Museum in St. Petersburg; MAMbo – Museo d’Arte Moderna di Bologna; Madre Museum of Contemporary Art – Napoli; Museum of Contemporary Art – Zagreb; Museu de Ciències Naturals of Barcelona, The Photographer’s Gallery of London, Museo de Arte de Caldas; Villa Manin; Museo Nacional Bellas Artes in Santiago; Museu das Comunicações of Lisbon, National Art Center of Tokyo; Eyebeam Art and Technology Center and Museum of Contemporary Art Vojvodina. His artworks have been exhibited at film festivals such as Toronto’s Images Festival; Torino Film Festival, and the St. Louis International Film Festival, and at many international media art festivals, 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.

Vavarella has been awarded numerous art prizes and grants, among which the Exibart Art Prize (2020); Italian Council award (2019); Premio Fattori Contemporaneo (2019); SIAE – Nuove Opere (2019); the NYSCA Electronic Media and Film Finishing Funds grant (2016); the Francesco Fabbri Prize for Contemporary Art (2015) and the Movin’Up Grant (2015). He has been invited to present his work at: Harvard Advanced Leadership Initiative; Istituto Italiano di Cultura – New York; 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 Behind the Smart World: Saving, Deleting and Resurfacing Data produced by the AMRO Research Lab and in exhibition catalogues like Low Form: Imaginaries and Visions in the Age of Artificial Intelligence (MAXXI and CURA Books); That’s IT! (MAMbo), and Robot Love (Niet Normaal Foundation). His work is regularly discussed in art magazines, academic books and peer-reviewed journals, and has been covered by all major global media outlets. His most recent artist book, published by Mousse, is entitled rs548049170_1_69869_TT.

Vavarella 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.


 

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.
  • 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.

RESIDENCIES AND AFFILIATIONS

  • (Currently) Artist in residence at Broad Institute of MIT and Harvard. Cambridge, US
  • (Currently) Harvard Horizons Scholar. Harvard University, Cambridge, US
  • 2021 Artist residency 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.
  • 2017-2019. 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.

(Selected) EXHIBITIONS

2023 / UPCOMING

  • (Forthcoming) La Biennale di Venezia – 18th International Architecture Exhibition. Italian Pavilion. Spaziale, curated by Fosbury Architecture, Venice, Italy
  • (ForthcomingSmith Center – Harvard University. Remediations, curated by Mahan Moalemi, Cambridge MA, US
  • (Forthcoming Solo ExhibitionMuseo Civico Giovanni Fattori. Premio Fattori Contemporaneo, Livorno, Italy
  • (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

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

(Selected) FILM SCREENINGS

  • 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 Peterburg, 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

MY WRITINGS (Books, Chapters, Essays, Interviews, Articles)

2023

  • [INTERVIEW / BOOK CHAPTER] “BELVEDERE GD-CLT-M-RN 13163/13501” in Catalogue of the Exhibition La Biennale di Venezia – 18th International Architecture Exhibition, ed. by Fosbury Architecture. Humboldt Books, 2023. (ita-eng).
  • [CONTRIBUTION] “Amazon’s Cabinet of Curiosities” in Magmagazine (ed. by Aurora Giampaoli), vol. 3, 2023.
  • [REPRINT] “Thinking About Thought” in Remediations, ed. by Mahan Moalemi, published on the occasion of the Remediations exhibitions, Smith Campus Center, Harvard University, 2023. (eng)

2022

  • [CONVERSATION / BOOK CHAPTER] Zanchi, Mauro and Sara Benaglia (ed. by). Le Insidie delle Immagini, postmedia books, 2022. (ita)
  • [ESSAY] Jeu de Paume. “Lettre d'(in)intention: Animal Cinema” by Emilio Vavarella, 2022 (fra-eng).
  • [INTERVIEW / PEER REVIEW JOURNAL] piano b. Arti e Cultura Visiva. “Intervista a Emilio Vavarella” a cura di Sofia Pirandello, vol. 6, no. 1, (360° L’immagine ambientale nelle arti visive tra realtà virtuale e aumentata), 2021/2022. (ita)

2021

  • [CONTRIBUTION] Vavarella, Emilio. “Sculpting Beyond Sculpture” in Sculpture Network, 25 July 2021. (eng)
  • [CONVERSATION / BOOK CHAPTER] Gavarro, Raffaele (Ed.). “Conversazione con Emilio Vavarella” in Avanti&Indietro. Manfredi Edizioni: Imola (Italy), 2021. (ita)
  • [ESSAY] Yezbick, Julia, Rachel Yezbick and Emilio Vavarella. “On Immersion: Editorial Essay” in Sensate: A Journal for Experiments in Critical Media Practice, January 2021. (eng)
  • [EXHIBITION CATALOGUE / INTERVIEW] Emaldi, Viola and Valentina Rosssi (ed. by). “Emilio Vavarella” in Il rituale del serpente: artisti, simboli e trasformazioni, Ravenna: Danilo Montanari Editore, 2021, pp. 54-55.
  • [INTERVIEW / PEER-REVIEWED ARTICLE] Cinergie. Il cinema e le altre arti. “A Journey into Artworks: Storytelling in Augmented Reality and Mixed Reality” by Sofia Pirandello. Special issue edited by Simone Arcagni and Adriano D’Aloia, August 2021. (eng)
  • [INTERVIEW] Juliet. Valentini, Manuela. “Arte, tecnologia ed errori. In conversazione con Emilio Vavarella” in Juliet, 3 May 2021. (ita)
  • [INTERVIEW] Split Tooth Media. “RIFF 2021 Q&A: Emilio Vavarella’s ‘Genesis’ (2021)”, interview by Robert Delany, August 2021. (eng)
  • [INTERVIEW] Zirartmag. Farina, Marika. “Il rapporto tra essere umano e tecnologia. Intervista a Emilio Vavarella”, 12 Jun 2021. (ita)

2020

  • [EDITED BOOK] Vavarella, Emilio, Mele, Paolo and Claudio Zecchi (Edited by). rs548049170_1_69869_TT. Mousse Publishing: Milano, 2020. (ita-eng)
  • [ARTICLE / CONVERSATION] Doppiozero. “Glitch: la verità nell’errore. Conversazione con Emilio Vavarella” With Mauro Zanchi and Sara Benaglia, 5 July 2020. (ita)
  • [ARTICLE / CONVERSATION] Loosenart. “Glitch: The Truth in the Error. A Conversation with Emilio Vavarella” by Sara Benaglia and Mauro Zanchi, August 2020. (eng)
  • [INTERVIEW / BOOK CHAPTER] “Intervista 25: Emilio Vavarella” in Metafotografia, Vol.2. Le mutazioni delle immagini. Edited by Mauro Zanchi and Sara Benaglia (eds.) Skinnerbox, Jesi (Italy), 2020, pp. 112-117. (ita).
  • [INTERVIEW] Artribune. “Tessitura, memoria e tecnologia. Intervista a Emilio Vavarella” by Cecilia Pavone, September 2020. (ita)
  • [INTERVIEW] ATP Diary. “Nuove ipotesi di realtà. Intervista con Emilio Vavarella (New hypotheses of reality: interview with Emilio Vavarella)” by Elena Bordignon, January 2020. (ita-eng)
  • [INTERVIEW] Digicult. “Thought is my main medium. Interview with Emilio Vavarella | Il pensiero è il mio medium principale. Intervista con Emilio Vavarella” by Giada Totaro, July 2020. (ita-eng)
  • [INTERVIEW] Exibart. “Digitale Off Limits: intervista a Emilio Vavarella” by Maria Chiara Wang, July 2020. (ita)
  • [INTERVIEW] R+. “Intervju: Emilio Vavarella | Interview: Emilio Vavarella | Organ Vida” by Tena Razumović Žmara, September 2020. (hrv-eng)

2019

  • [INTERVIEW] Dartema. “Amazon’s Cabinet of Curiosities: Intervista a Emilio Vavarella” interview by Maria Chiara Wang, November 2019. (ita)
  • [INTERVIEW] Exibart. “Non lasceremo l’intelligenza artificiale agli informatici” double interview by Federico Bomba to Salvatore Iaconesi and Emilio Vavarella. n.106, 2019, pp.66-67. (ita)
  • [INTERVIEW] Juliet. “Emilio Vavarella – Interdisciplinarità artistica” by Emanuela Zanon, n. 192, apr/mag 2019. (ita)
  • [INTERVIEW]That’s Contemporary. “Emilio Vavarella” interview by Gianluca Gramolazzi, October 2019. (ita)

2018

  • [BOOK CHAPTER / PEER REVIEW] 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)
  • [BOOK CHAPTER / PEER-REVIEWED] 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)
  • [CONTRIBUTION / EXHIBITION CATALOGUE] 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)
  • [CONTRIBUTION / EXHIBITION CATALOGUE] 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 Intelligencecatalogue of exhibition at MAXXI – Museo nazionale delle arti del XXI secolo, CURA Editions, 2018. (ita-eng)

2017

  • [ARTIST BOOK] Vavarella, Emilio. Animal Cinema: A World Remaking Cinema for Itself, independent publication, developed in collaboration with GALLLERIAPIÙ, Cambridge and Bologna, 2017. (eng)
  • [ARTIST BOOK] Vavarella, Emilio. RE: Animationindependent publication, Cambridge, 2017. (eng)
  • [CONTRIBUTION / PEER-REVIEWED] Digital Communication Quarterly, (Taylor & Francis). “The Digital Skin Series.” Edited by xtine burrough, vol.23. n.3, 2017. (eng)
  • [CONTRIBUTION] Vavarella, Emilio. “The Digital Skin Series” in The Harvard Advocate, Vol. 152, No.2. Winter 2017. (eng)
  • [INTERVIEW] ATP DIARY. “Intervista con Emilio Vavarella” 2017. (ita)
  • [INTERVIEW] Mise en Abyme. “Emilio Vavarella.” Interview by Mattia Pajé. 2017. (ita)
  • [PEER-REVIEWED ARTICLE] 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)

2016

  • [ARTICLE / PEER REVIEW] 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)
  •  [CONTRIBUTION / EXHIBITION CATALOGUE] 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)
  • [INTERVIEW] 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)

2015

  • [ARTICLE / PEER-REVIEWED] 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)
  • [ARTIST BOOK] Vavarella, Emilio. MNEMODRONE – CHAPTER TWO, independent publication, developed for ISEA2015 – 21st International Symposium on Electronic Art, Disruption, NYC, US, 2015. (eng)
  • [ARTIST BOOK] Vavarella, Emilio. fragments, independent publication, NYC, US, 2015. (ita-eng).
  • [INTERVIEW] Interalia Magazine, “On TRANSICONMORPHOSIS: an Interview with Emilio Vavarella and Fito Segrera”, by Richard Bright and Vasia Hatzi, 2015. (eng)

2012-2014

  • [ARTICLE / PEER REVIEWED] 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)
  • [ARTIST BOOK] Vavarella, Emilio. ASKING ABOUT ART. Independent publication with Francesco Nordio. Venice, Italy, 2012. (ita)
  • [ARTIST BOOK] Vavarella, Emilio. MNEMODRONE – CHAPTER ONE, independent publication, developed for CultureHub, RE FEST: Art + Technology Festival, NYC, US, 2014. (eng)
  • [CONTRIBUTION / EXHIBITION CATALOGUE] Vavarella, Emilio. A GLITCHED DEFINITION OF GLITCH. Contribution for A Linking Book, exh. cat., curated by CAMPO12, Fondazione Sandretto Re Rebaudengo, Turin, Italy, 2012. (ita-eng)
  • [CONTRIBUTION] DIVA – Journal of The Society for Art and Science, “TRANSICONMORPHOSIS,” vol.36, 2014. (jap)
  • [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)

BIBLIOGRAPHY (Articles, Reviews and Studies of my Work)

2023

  • [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)

2022

  • [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] Modena, Elisabetta. “Lending the Face / Prestare il volto” in Visual Culture Studies, n.3, Mimesis Edizioni, 2022.
  • [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” in RCL Revista de Comuncaçao e Linguagens / Journal of Communication and Languages, Special Issue: Regimes da Transparência / Regimes of Transparency, n. 56, 2022. (por)
  • [BOOK] Zanchi, Mauro. La fotografia come medium estensibile, postmedia books, May 2022 (ita)
  • [BOOK] Modena, Elisabetta. Nelle storie. Arte, cinema e media immersivi. Carocci Editore, June 2022, p. 125 (ita)
  • [EXHIBITION CATALOG] CYFEST 13 International Media Art Festival. Cyland Foundation, St. Petersburg, Russia, pp, 52, 124. (rus – eng)
  • [EXHIBITION CATALOG] Mancuso, Marco. “Per un’arte in divenire. L’immaginario macchinico dell’audiovisivo italiano di inizio millennio” in Videoarte in Italia. Il video rende felici, Treccani, 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” 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”, 2022 (ita)
  • [EXHIBITION REVIEW] Il Corriere della Sera – Style. “Le mostre ed eventi da non perdere” 2022 (ita)
  • [EXHIBITION REVIEW] Man in Town. “L’altra forma delle cose: la nuova installazione di Emilio Vavarella a 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” 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” by Simona Romagnoli, June 2022. (ita)
  • [EXHIBITION REVIEW] Il Mattino. “Vavarella porta al Madre i linguaggi di 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” 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” by Nicola Baroni, 2022. (ita)
  • [PROJECT REVIEW] Exibart. “12 ore in soggettiva: la realtà virtuale di Emilio Vavarella alla Casa degli Artisti”, 2022. (ita)

2021

  • [ACADEMIC / MA THESIS] Silvi, Martina. Le altre animali nell’opera di Art Orienté Object. Departiment of History, Anthropology, Religion, Art, Spectacle. Lettere e Filosofia, Università La Sapienza, Roma, 2020-21. (ita)
  • [ACADEMIC PAPER / BOOK CHAPTER] Goriunova, Olga. “Stand-In” in Uncertain Archives. Critical Keywords for Big Data. (ed. by Nanna Thylstrup et al.). Cambridge, Massachusetts: MIT Press, 2021. pp. 485-493. (eng)
  • [ARTICLE] Ag Cult. Bomba, Federico. “[Era Digitale] Gli artisti italiani che disegnano il nostro futuro con il digitale” in Ag Cult. 1 February 2021. (ita)
  • [ARTICLE] Artribune. Giacomelli, Marco Enrico. “Best of. I migliori libri pubblicati nel 2020”, 1 gennaio 2021. (ita)
  • [ARTICLE] Espoarte. “L’immagine anantropica. Sguardi senza occhi della postfotografia” 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”, May 2021. (ita)
  • [BOOK CHAPTER] Fantuzzi, Arianna. “Cronologia essenziale dell’arte italiana. 1989-2020” [Essential Chronology of Italian Art: 1989-2020) in Senzamargine. Passaggi nell’arte italiana a cavallo del millennio [Without Countours. Passages in Italian Art in Between Millenia]. Marsilio Editore and MAXXI Museum, 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”, 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, 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”, 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)
  • [ARTICLE] Artslife – Fotoromanzo. “Emilio Vavarella: arte, errori e tecnologia. Una costante messa in discussione” by Andrea Tinterri, May 2020. (ita)
  • [ARTICLE]La Gazzetta del Mezzogiorno. “Il DNA intrecciato dagli antichi telai”, Giovedì 9 gennaio 2020, XXVII. (ita)
  • [BOOK CHAPTER]Biasini Selvaggi, Cesare. “Mondi alternativi e nuove tecnologie. L’ibridazione arte-scienza nell’era delle tecnologie immateriali dell’informazione” in Fasten Your Seatbelt. Arte, critica e contemporaneità. Metronom Books (Modena, Italy), 2020, pp.15-72. (ita)
  • [CONTRIBUTION / EXHIBITION CATALOGUE] Vavarella, Emilio. “Alcune riflessioni personali su Google Mapping” in Ricalcolo: di territori computanti e dei loro attuatori analogici. 2020. (ita-eng)
  • [EXHBITION REVIEW] Artribune. “Emilio Vavarella in mostra nel Salento estremo” 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” by Lorenzo Madaro, August 2020. (ita)
  • [PROJECT REVIEW] ATP Diary. “MNEMOSCOPIO di Emilio Vavarella: un’installazione d’arte pubblica” 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” 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” (titolo provvisorio) 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” [The utilization 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. (Edited by Olivier Frahle et al.). transcript, Bielefeg (Germany), 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” 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 (A conversation around Animal Internet)” by Ivan Streltsov, November 2019. (rus)
  • [BOOK CHAPTER] Biasini Selvaggi, Cesare (Edited by). “Emilio Vavarella” in 222 Artisti su cui investire, 2019. Exibart Edizioni, p. 229. (ita-eng). 
  • [BOOK CHAPTER] Boeddhistisch Dagblad. “Boeken – wat we van robots kunnen leren over liefde” (Books: What Can We Learn from Robots About Love,” 2018. (nl)
  • [CRITICAL TEXT] La Foresta. Itinerari nell’arte contemporanea. “Un impero è caduto” by Andrea Tinterri, n.1, 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, Art Monthly 422: Dec-Jan 18-19. (eng)
  • [EXHBITION REVIEW]Artribune Magazine. “Low Form” by Lorenzo Taiuti, #47, Gennaio-Febbraio 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, no. 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>>”, October 2019. (ita)
  • [PRESS COVERAGE] Il Corriere della Sera. “Al MAXXI di Roma la prima mostra sull’intelligenza artificiale” by Giulia Cimpanelli, 2019 (ita)
  • [PRESS COVERAGE] Il Corriere della Sera. “Pronto? Parla Artissima” by Stefano Bucci, 27 October 2019. (ita)
  • [PRESS COVERAGE] Il Manifesto – Alias. “Emilio Vavarella”. Print edition, 9 November 2019. (ita)
  • [PRESS COVERAGE] Il Sole 24 Ore. “Chi ha vinto il bando Per Chi Crea” by Francesca Guerisoli, July 2019. (ita)
  • [PRESS COVERAGE] Il Sole 24 Ore. “La simulazione digitale dà vita al Simrealismo” by Luca De Biase, 2018. (ita)
  • [PRESS COVERAGE] Il Sole24ore. “Art Rotterdam coltiva un collezionismo democratico” by Nicola Zanella, 2019. (ita)
  • [PRESS COVERAGE] Il Sole24Ore. “Arte Fiera getta basi per il rinnovamento” by Silvia Anna Barrillà and Francesca Guerisoli, 2019. (ita)
  • [PRESS COVERAGE] La Freccia. “Il Senso del bello” 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?” [“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” 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” by Valeria Crisafulli, 2018 (ita)
  • [ARTICLE] SottoboscoDigitale: Artisti Digitali Italiani. “Emilio Vavarella, Questione di Memoria” by Valeria Crisafulli, 2018 (ita)
  • [BOOK] Biasini Selvaggi, Cesare (Edited by). 222 Artisti su cui investire, 2018. Exibart Edizioni, p. 227. (ita-eng). 
  • [EXHIBITION CATALOGUE] #LAYERS. Contemporary Art in the Digital Era, iMAL Center for Digital Cultures and Technology and LINK Art CENTER, LINK Editions, 2018, pp. 68-71.
  • [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.” 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.” 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” by Lorenzo Taiuti, 2018. (ita)
  • [PRESS COVERAGE] Exibart. “Diario di una Biennale al Cairo” (5 parts), by Elena Giulia Abbiatici. 2018 (ita)
  • [PRESS COVERAGE] Exibart. “Il volto dell’intelligenza artificiale.” 2018 (ita)
  • [PRESS COVERAGE] Exibart. “Lopera d’arte nell’epoca dell’IA.” 2018 (ita)
  • [PRESS COVERAGE] Il Corriere della Sera. “L’intelligenza artificiale in mostra.” 2018 (ita)
  • [PRESS COVERAGE] Il Giornale delle Fondazioni. “Arrestare il sistema. Il caleidoscopio digitale del MAXXI punta sull’artificial intelligence.” 2018 (ita)
  • [PRESS COVERAGE] LaRepubblica. “Ibridi e hi-tech i giovani pittori dell’intelligenza artificiale al Maxxi di Roma.” 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.” 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.” 2018 (ita)
  • [PROJECT REVIEW] Il Sole24Ore (Postcinema). “Animal Cinema” by Simone Arcagni, 2018 (ita).

2017

  • [ACADEMIC / BA THESIS] Gölin, Eva-Teréz. Holy Grail. BA Thesis in Media Culture, Photography – Novia University of Applied Sciences, Jakobstad, 2017. (swe)
  • [ACADEMIC / BA THESIS] Llanas Sancho, Cristina. El Glitch art com a pràctica subversiva. BA in Art History, Faculty of Geography and History, University of Barcelona, 2017. (cat)
  • [ACADEMIC / PHD DISSERTATION] Coleman, Sheridan. Internet Explorer: The Creative Administration of Digital Geography. PhD Dissertation, School of Humanities, Department of Art, Curtin University, 2017. (eng)
  • [ACADEMIC PAPER / PEER REVIEW] Studi Culturali (Il Mulino). “La specie è un ossimoro.”  Peer-reviewed article by Federica Timeto, 2017 (ita).
  • [CRITICAL TEXT] Technoculture. (Unità di Ricerca sulle Tecnoculture, Università degli Studi di Napoli ‘L’Orientale’). “Di cosa parlano i chatbot quando parlano fra loro?”, 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” 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” 2017 (ita).
  • [PROJECT REVIEW] Artribune. “Animal Cinema: quando dietro la telecamera non c’è l’occhio umano” 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” 2017 (ita).
  • [PROJECT REVIEW] Neural. “The Digital Skin Series.” Vol.55, centerfold, 2017 (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”, by Sylvain Campeau, v.106, automne/hiver 2015 (fra).
  • [ACADEMIC PAPER / PEER REVIEW] Giusti, Sergio. “Earth e Street View Photography: esplorazioni e derive come brandelli della mappa sull’impero del codice” in rsf rivista di studi di fotografia(Firenze University Press), n. 4, 2016, pp.68-86. (ita)
  • [ARTICLE] Le Monde – Big Browser, “Avez-vous déjà vu les mutants de Google Street View?”, 2016 (fra).
  • [ARTICLE] Yetiskin, Ebru. “Bir Armağan Sanati Olarak Video: Ulus Baker’in Notlariyla Video Sanati” in ebruyetiskin.com, 2016, web. (tur)
  • [CRITICAL TEXT] Exibart, “La meglio Gioventù: Azioni”, by Andrea Bruciati, 2016 (ita).
  • [EXHBITION REVIEW] Areo, “Orizzonti Mobili” by Carlo Sala, Speciale Cultura 6, n.52, 2016, pp.158-160 (ita).
  • [EXHIBITION CATALOGUE] Memorie: Arte, Immagini e Parole del Terremoto in Friuli, Skira Editore, Milan, 2016 (ita).
  • [EXHIBITION CATALOGUE] 30th Stuttgarter Filmwinter – Festival of Expanded Media, “The CAPTCHA Project” Stuttgart: MFG Medien- und Filmgesellschaft, Germany, 2016, p. 98. (ger-eng)
  • [EXHIBITION CATALOGUE] Kraemer, Harald, Daniel C. Owe, and Kyle Chung (ed. by). ISEA2016 香港Cultural R>evolution“The CAPTCHA Project,” School of Creative Media, City University of Hong Kong, pp. 278-279.

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] Visual Studies, “Google Street View: Navigating the Operative Image” by Ingrid Hoelzl and Rémi Marie, Routledge, Vol. 29, No.3, pp. 261-271 (eng).
  • [ACADEMIC / PHD DISSERTATION] NEW MEDIA ART EXPERIENCEMedia digitali, forme e contesti della produzione artistica contemporanea. Doctoral Thesis in “Comunicazione e Nuove Tecnologie” by Paolo Mele, IULM University, Milan, Italy (ita).
  • [ARTICLE] GAI – Giovani Artisti Italiani. “Il Progetto. L’intervista. Il Resoconto.” Interview 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” Official Catalogue, 2015 (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”, by Lucia Longhi (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” in Anais do VII Seminario Nacional de Pesquisa em Arte e Cultura Visual (Coord. 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, 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 (jap)
  • [CRITICAL TEXT] ARTFORUM. “Fair Game. Martha Buskirk on Networked Photography and Copyright”, magazine, summer 2014, vol.52, no.10 (eng).
  • [CRITICAL TEXT] INTERARTIVE. “THE WILDERNESS IN THE MACHINE: Glitch and the Poetics of Error” by Christin Grammatikopoulou, n.59, Art, Politics, Technology (eng).
  • [CURATORIAL TEXT]“A Question of Stealing.” Curatorial text by Emma Stanisic (eng).
  • [CURATORIAL TEXT] “ITALIANS ON THE JOB: Inside and Outside an Anarchival Impulse.” Curatorial text by Monica Bosaro (eng).
  • [CURATORIAL TEXT]“The Italian Job. Italian Theory and The Art of Trolling.” Curatorial text by Lucrezia Calabrò Visconti. (eng).
  • [EXHIBITION CATALOGUE] Autonomije. Novi Sad: Institut za leksibilne kulture i tehnologije – Napon, and Muzej savremene umetnosti Vojvodine Zavod za kulturu Vojvodine 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” by Bruno Romani (bra).
  • [PROJECT REVIEW] INTERARTIVE. “The Google Trilogy,” special issue: Art & Copyright, #50 (eng).
  • [PROJECT REVIEW] LaRepubblica. “Quando la tecnologia è imperfetta: le foto sbagliate di Google Street” by Marzia Papagna (ita).
  • [PROJECT REVIEW] MASHABLE. “Artist Finds Beauty in Google Street View Glitches” by Laura Vitto (eng).
  • [PROJECT REVIEW] WIRED, Japanese Edition. “Incredible Glitches from Google Street View” by Mayumi Irai/Galileo (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: Fondazione Studio Marangoni, 2013, pp. 8-9, 40-41. (eng)
  • [EXHIBITION CATALOGUE] 96ma Collettiva Giovani Artisti. “Emilio Vavarella.” Venice: Fondazione Bevilacqua La Masa, 2013, 2012, 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,” 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” 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)

(Selected) ART PRIZES AND GRANTS

2021

  • Exibart Art Prize – First edition. Winner. Rome, Italy

2020

  • Premio Graziadei – VII EdizioneSpecial mention, Rome, Italy
  • 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 2019 Italian Council, promoted by MiBAC – Ministero per i Beni e le Attività Culturali (Ministry of Cultural Heritage and Activities), Italy. Selection commission: Federica Galloni (Director-General), Bartomeu Marí Ribas, Marco Scotini, Claudio Varagnoli, Angela Vettese. Cultural partners: Ramdom / LaStation (Italy); Film Study Center, Harvard University (USA); Arthub Asia (China) and MAMbo – Museo d’Arte Moderna di Bologna
  • Winner of Premio Fattori Contemporaneo 2019, promoted by Musei Civici di Livorno, Museo della Città – Luogo Pio Arte Contemporanea and Museo Giovanni Fattori. Jury: Andrea Bruciati, Daniele De Luigi, Francesca Baboni, Lorenzo Balbi, Matteo Bergamini, Paola Tognon, Stefano Taddei. Livorno, Italy
  • Winner of SIAE – Nuove Opere 2019.  Commission for a new project, MNEMOSCOPIO, produced and curated by Ramdom.
  • 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.
  • 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
  • 3rd San Antonio Independent Film FestivalWinner Best Experimental Short, Ecuador
  • Il Varco – III Festival Internazionale del CortometraggioHonorary Mention for Experimental Cinema, Pescara, Italy

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

  • 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
  • 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

  • Venice Art Night, commission for the creation of CONCERT FOR STRINGS, Iuav University of Venice, 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
  • Winner of First prize – 23° Concorso Fotografico Francesco Bertozzi, Novara, Italy

TEACHING AWARDS

  • 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.

STUDY AWARDS

  • 2023 | Harvard Horizons Scholar. Derek Bok Center for Teaching and Learning, Harvard University, Cambridge, US
  • 2022 | Merit and Term-Time Research Fellowship.  Harvard University, Fall semester.
  • 2013 | M.A./M.F.A summa cum laude, Visual Arts, Iuav University of Venice, Italy.
  • 2013 | Erasmus Fellowship for Abroad Studies, M.A. Cultural Studies, 5 months at Bilgi University of Istanbul, Turkey
  • 2012 | Fellowship for Extra-European Studies, Study Abroad, M.F.A, 4 months at Bezalel Academy of Arts and Design, Tel Aviv, Israel
  • 2011 | Scholarship of the Town for Academic Merits, Comune di Acate, Ragusa, Italy
  • 2011 |B.A. summa cum laude, Disciplines of the Arts, Music and Spectacle, University of Bologna, Italy

CONFERENCES, LECTURES AND ART TALKS

2023 (forthcoming)

  • Harvard Horizons Symposium. “Techniques and Technologies of Thought: A Short History of Media Models.” Sanders Theatre, Harvard University, Cambridge, MA, USA.

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