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Selected minor and prototype works
Fingerprints Catalogue
2014. Online project.
Catalog of the Data as Culture 2014 exhibition for the Open Data Institute of London, UK.
This online catalogue made use of sophisticated tracking technology to monitor and store so-called "fingerprints" of users' web browsers. The fingerprints left on the catalogue and its artworks were collected, generating meta-artworks and subverting images of the original works in the show. It is a participatory and interactive catalogue that changed and expanded upon its use.

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White Video Visitation Torture
2013. Video and audio interactive installation.
This artwork questioned the use of Video Visitation technology introduced in US prisons. The term "White Torture" originally comes from Iran, where detainees use it to refer to the use of incommunicado solitary confinement. In the installation a reproduction of the Video Visitation device was installed inside a small, uncomfortable white booth. This replica of a prison's Video Visitation engaged the audience in a reenactment of the experience of prisoners interacting with their visitors through the video interface device. In the videos recorded, the quality of communication is deteriorated, and constant surveillance is maintained through the automatic publishing of each conversation onto a public website.

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Transparent Cities
2011. Mixed Media.
Transparent Cities was a conceptual artwork concerning pervasive surveillance technologies in the urban environment. It aimed to balance the asymmetrical relationship with state surveillance and expose the lack of transparency in contemporary society. The intervention is an installation of unauthorized CCTV cameras, which automatically take pictures of city's public officials and publish them across social media as part of a participatory surveillance. Transparent Cities' CCTV cameras have been created through the hacking and transformation of home-consumer IP cameras into independent units powered by solar panels. The cameras have similar design to those installed by authorities and city administrators. The growing importance of networked media has altered the way surveillance is practised. Wireless devices are small, pervasive, and ubiquitous, and can quickly spread sensitive data over popular platforms.

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2011. Digital prints.
inVeritas was a project to democratize the power of the Italian mass printed media by inviting the public to freely create news stories. On, one can generate headlines for twenty-one Italian newspapers for ready-to-print A3 format files designed to look like the original publications. Citizens, either individually or in groups, can then disseminate the news story by posting the headlines near their local news-stands. inVeritas gives everyone the chance to tell personal news directly through newsstands across Italy.

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Time and Truth Don’t Unveil the Reason
2009. Digital print PVC and vinyl stickers. 250x170cm.
This artwork is created from a digital copy of the painting "The Truth Unveiled by Time" by Baroque master Giambattista Tiepolo. It has been partly covered by stickers which alter the interpretation of its iconographic symbolism. The painting was used as the backdrop for press conferences given by Silvio Berlusconi's Italian government. The Prime Minister altered the painting, hiding the nipple of the woman (allegorically representing the truth). "Time and Truth Don't Unveil the Reason" concerns censorship and political consent. It suggests that time and truth alone are not sufficient for finding illumination by the light of reason – a position ever obscured by media control over people's perception of reality.

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Obsessed Obscured Oppressed
Layered digital print on acetate. 30x42cm.
This graphic composition depicts mental obsessions overlapping chaotically to reveal a blurry image of the orderly decadent capitalist society. From status symbols, consumerism, violence, media spin, pollution, competition, and sexism emerge deep-felt anxieties, as people fret over duties and aspirations. The urgent, pressing pace of life and the onslaught of imposed desires inevitably result in an overpowering sense of guilt, which comes from the responsibility and pressure put to single individuals.

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