Valerio Conti

A solo performance featuring a choral ensemble of household appliances. Surrounded by fragments of plaster-coated images, the performer attunes their voice to the rhythms of vacuum cleaners, mixers, and other machines. Activated in sequence or in chorus, these devices form a dissonant choir, producing a shared sonic field of friction, intimacy, and exhaustion.

A solo performance featuring a choral ensemble of household appliances. Surrounded by fragments of plaster-coated images, the performer attunes their voice to the rhythms of vacuum cleaners, mixers, and other machines. Activated in sequence or in chorus, these devices form a dissonant choir, producing a shared sonic field of friction, intimacy, and exhaustion.

A solo performance featuring a choral ensemble of household appliances. Surrounded by fragments of plaster-coated images, the performer attunes their voice to the rhythms of vacuum cleaners, mixers, and other machines. Activated in sequence or in chorus, these devices form a dissonant choir, producing a shared sonic field of friction, intimacy, and exhaustion.

The work features a collective attunement of household appliances and people. The project merges an installation component with a performative aspect, exploring pornographic processes and inter-human intimacies. A series of unfolding elements that sit between images and sculptures are scattered throughout the space participating in the choir Performers: Laura Modoni, Maitiú Mac Cárthaigh, Mar Fu Qi, Rosa van Walbeek, Cristina Lavosi, Stefano Cattani, Valerio Conti See_Lab, Deen Haag

The work is part of the collective exhibition “outside the hospital doors” Voorburg, 2024. The intervention transforms the hospital room into an architectural body, with the modular ceiling structure serving as a skeletal or epidermal framework. The imagery, resembling flesh and tissues, "erupts" from the ceiling, creating a visceral tension between the sterile, functional space of the hospital and the raw, organic materiality of the images.

The work is part of the collective exhibition “outside the hospital doors” Voorburg, 2024. The intervention transforms the hospital room into an architectural body, with the modular ceiling structure serving as a skeletal or epidermal framework. The imagery, resembling flesh and tissues, "erupts" from the ceiling, creating a visceral tension between the sterile, functional space of the hospital and the raw, organic materiality of the images.

The work is part of the collective exhibition “outside the hospital doors” Voorburg, 2024. The intervention transforms the hospital room into an architectural body, with the modular ceiling structure serving as a skeletal or epidermal framework. The imagery, resembling flesh and tissues, "erupts" from the ceiling, creating a visceral tension between the sterile, functional space of the hospital and the raw, organic materiality of the images.

The work is part of the collective exhibition “outside the hospital doors” Voorburg, 2024. The intervention transforms the hospital room into an architectural body, with the modular ceiling structure serving as a skeletal or epidermal framework. The imagery, resembling flesh and tissues, "erupts" from the ceiling, creating a visceral tension between the sterile, functional space of the hospital and the raw, organic materiality of the images.

The work features a collective attunement of household appliances and people. The project merges an installation component with a performative aspect, exploring pornographic processes and inter-human intimacies. A series of unfolding elements that sit between images and sculptures are scattered throughout the space participating in the choir Performers: Laura Modoni, Maitiú Mac Cárthaigh, Mar Fu Qi, Rosa van Walbeek, Cristina Lavosi, Stefano Cattani, Valerio Conti See_Lab, Deen Haag

The work features a collective attunement of household appliances and people. The project merges an installation component with a performative aspect, exploring pornographic processes and inter-human intimacies. A series of unfolding elements that sit between images and sculptures are scattered throughout the space participating in the choir Performers: Laura Modoni, Maitiú Mac Cárthaigh, Mar Fu Qi, Rosa van Walbeek, Cristina Lavosi, Stefano Cattani, Valerio Conti See_Lab, Deen Haag

The work features a collective attunement of household appliances and people. The project merges an installation component with a performative aspect, exploring pornographic processes and inter-human intimacies. A series of unfolding elements that sit between images and sculptures are scattered throughout the space participating in the choir Performers: Laura Modoni, Maitiú Mac Cárthaigh, Mar Fu Qi, Rosa van Walbeek, Cristina Lavosi, Stefano Cattani, Valerio Conti See_Lab, Deen Haag

The work features a collective attunement of household appliances and people. The project merges an installation component with a performative aspect, exploring pornographic processes and inter-human intimacies. A series of unfolding elements that sit between images and sculptures are scattered throughout the space participating in the choir Performers: Laura Modoni, Maitiú Mac Cárthaigh, Mar Fu Qi, Rosa van Walbeek, Cristina Lavosi, Stefano Cattani, Valerio Conti See_Lab, Deen Haag

Utilizing echoes, the work incorporates household appliances to search for inter-human intimacies and sonically pornographic processes. At the same time, it parasate the space with some baroque interventions, unconsciously tapping into distant and forgotten pornographies.

Utilizing echoes, the work incorporates household appliances to search for inter-human intimacies and sonically pornographic processes. At the same time, it parasate the space with some baroque interventions, unconsciously tapping into distant and forgotten pornographies.

Utilizing echoes, the work incorporates household appliances to search for inter-human intimacies and sonically pornographic processes. At the same time, it parasate the space with some baroque interventions, unconsciously tapping into distant and forgotten pornographies.

Work part of "What the swans are twittering about in the riverbe" in Trixie, The Hague (NL)

Work part of "What the swans are twittering about in the riverbe" in Trixie, The Hague (NL)

Work part of "What the swans are twittering about in the riverbe" in Trixie, The Hague (NL)

Grad Show, Kabk, 2023. The scene takes place in a staged intimate space partially covered by a suspension, in ruins but at the same time not formed yet. All the pieces present are living in a process of elaboration, transposition and transformation of pornographic images and body fragments into a material. The work carries the memory of an experience intertwined with sexual desire, a sense of disconnection and desolation that arises from the overwhelming ubiquity of screens.

Grad Show, Kabk, 2023. The scene takes place in a staged intimate space partially covered by a suspension, in ruins but at the same time not formed yet. All the pieces present are living in a process of elaboration, transposition and transformation of pornographic images and body fragments into a material. The work carries the memory of an experience intertwined with sexual desire, a sense of disconnection and desolation that arises from the overwhelming ubiquity of screens.

Grad Show, Kabk, 2023. The scene takes place in a staged intimate space partially covered by a suspension, in ruins but at the same time not formed yet. All the pieces present are living in a process of elaboration, transposition and transformation of pornographic images and body fragments into a material. The work carries the memory of an experience intertwined with sexual desire, a sense of disconnection and desolation that arises from the overwhelming ubiquity of screens.

Grad Show, Kabk, 2023. The scene takes place in a staged intimate space partially covered by a suspension, in ruins but at the same time not formed yet. All the pieces present are living in a process of elaboration, transposition and transformation of pornographic images and body fragments into a material. The work carries the memory of an experience intertwined with sexual desire, a sense of disconnection and desolation that arises from the overwhelming ubiquity of screens.

Performance, Nest, Den Haag (NL), 2022

Fruits de Mar, Collective exhibition at NEST, The Hague (NL) 2023

Fruits de Mar, Collective exhibition at NEST, The Hague (NL) 2023

Fruits de Mar, Collective exhibition at NEST, The Hague (NL) 2023

Fruits de Mar, Collective exhibition at NEST, The Hague (NL) 2023

Ex Corpore is based on the gesture of extracting and taking portions of images from gay pornographic sources. The project explores pornography both as a staged intimacy and as an urge to desire for actual closeness. The extract is a process in which the virtual images became real. In this way, the image of a body becomes a body in itself. The analogy between the bodies internal to the image and the embodied image generates two epidermal levels: one skin within the scene and another consisting of the coloured surface, made of craters, spots and wounds.

Ex Corpore_Ostensio is a public artwork spread along the San Marino highway. Images printed on posters, the result of an enlargement that explodes in abstraction, constitute a syncopated collective body that is imprinted in our memory. The work can be ascribed to broader research carried out by Conti on the statute of the image and its limits. In fact, with the enlargement process, the images lose their referent coming from gay and queer pornography, allowing only glimpses of knees, hands, mouths, ankles, and forearms or sometimes losing all figurativeness manifesting themselves as large fields of colour. These body portions are fragmented on the freeway standing like an undeclared manifesto of missed contacts. This lack generated by the difficulty of a meeting between the bodies is aimed at the memory of the first shady approaches and at all those who experience (or have experienced) difficulties in coming out in the San Marino context. Since 2019, San Marino has launched a process to protect the rights of the LGBTIQ+ community which is still ongoing and aligns the small state with other Western democracies (Article 4 of the Declaration of Citizens’ Rights)”.

Karaoke is a sort of game in which you can stage your embarrassment and intimate musical memories regardless of social status. This conscious unveiling can be entirely out of place that is not assigned to sing. People that sing unproperly are considered fools and crazy people. Hence the suggestion of infamy's mask was an instrument used from the Middle Ages until the 17th century for women considered noisy, and for eccentric men, both condemned to public ridicule. The mask is a device that does not show the face but only a tube, just like the Karaoke is a sort of game in which you can stage your embarrassment and intimate musical memories regardless of social status. This conscious unveiling can be entirely out of place that is not assigned to sing. People that sing unproperly are considered fools and crazy people. Hence the suggestion of infamy's mask was an instrument used from the Middle Ages until the 17th century for women considered noisy, and for eccentric men, both condemned to public ridicule. The mask is a device that does not show the face but only a tube, just like the scold's bridle.

The accumulation of objects in a domestic space involves the distortion of the perception in those who inhabit it. The inhabitant, in this case, is a serial accumulator that tends to keep everything close without making any decisions about the objects in his possession, without any taxonomy. The resulting space is a place built by superimposing heterogeneous fragments in a stochastic model. The work reflects on the difficulty of predicting, through the project, these places resulting from the individual psychosis of the inhabitant. In this case, the architecture is defeated because it has not been able to forecast.

The accumulation of objects in a domestic space involves the distortion of the perception in those who inhabit it. The inhabitant, in this case, is a serial accumulator that tends to keep everything close without making any decisions about the objects in his possession, without any taxonomy. The resulting space is a place built by superimposing heterogeneous fragments in a stochastic model. The work reflects on the difficulty of predicting, through the project, these places resulting from the individual psychosis of the inhabitant. In this case, the architecture is defeated because it has not been able to forecast.