Exhibitions

Refraction

LAUGHABLE, video still, HD video, 1 minute, 2018. Exhibition view from “Refraction” part of Glasgow International at #24hourwindow, Glasgow, 2018.REFRACTION, video still, HD video, 1 minute, 2018.

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Exhibitions

23 May 2018

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Exhibition view from “ACIES” at The Number Shop, Edinburgh, 2017. From left to right: 21 JULY 2001, marble powder cast, scale model clothing, fire extinguisher scale model, digital print, plinth. (Statue 45 x 20 cm; plinth 25 x 15 x 15cm), 2017; CAMOUFLAGE#5, (composition with 38 land masses from the NATO and the Warsaw Pact alliances), 150cm x 112cm, spray paint on paper, spike studs, 2017.Exhibition view from “ACIES” at The Number Shop, Edinburgh, 2017. From left to right: BIG HITS (Wars And Songs Commencing From The Year I Was Born), video, sound, duration 15:30 minutes, ratio 16:9, 2017; BATTLEFIELD, Wood structure (2 m x 30 cm), fabric banner (50 x 40 cm), leather, plinth, camouflage dices, 2017.Exhibition view from “ACIES” at The Number Shop, Edinburgh, 2017. From left to right: WAR MAP, digital print, 90cm x 125cm (folded 24cm x 12,5cm), edition of two, 2017; 21 JULY 2001, marble powder cast, scale model clothing, fire extinguisher scale model, digital print, plinth. (Statue 45 x 20 cm; plinth 25 x 15 x 15cm), 2017; CAMOUFLAGE#5, (composition with 38 land masses from the NATO and the Warsaw Pact alliances), 150cm x 112cm, spray paint on paper, spike studs, 2017.

Melon

Exhibition view from “Melon” at The Number Shop, Edinburgh, 2017. From left to right: ATLAS#1, 2017; NEC PLUS ULTRA, 2017.Exhibition view from “Melon” at The Number Shop, Edinburgh, 2017. From left to right: THE MERCATOR PROJECTION, spray paint on paper, 59×84 cm, edition of three, 2017; NEC PLUS ULTRA, wood, spray paint, inflatable globe map, two parts of 120×40 cm, 2017.Exhibition view from “Melon” at The Number Shop, Edinburgh, 2017. From left to right: ATLAS#1, cotton fabric, spray paint, push pins, approx. 30x50cm, 2016; NEC PLUS ULTRA, wood, spray paint, inflatable globe map, two parts of 120×40 cm, 2017.Exhibition view from “Melon” at The Number Shop, 2017.

W.W.W. (Whole World Working)

WHOLE WORLD WORKING – Exhibition view at Collective Gallery. Photograph © Tom Nolan.BORDERS, acrylic on tracing paper, rubber stamp, push pins. Thirty-six drawings 29×21 cm (overall dimension 120×180 cm); 120×200 cm, three drawings 42×60 cm (overall dimension 120×260 cm), 2014. Exhibition view from “Whole World Working” at Collective Gallery, Edinburgh, 2016. Photograph © Tom Nolan.BORDERS, acrylic on tracing paper, rubber stamp, push pins. Thirty-six drawings 29×21 cm (overall dimension 120×180 cm); 120×200 cm, three drawings 42×60 cm (overall dimension 120×260 cm), 2014. Exhibition view from “Whole World Working” at Collective Gallery, Edinburgh, 2016. Photograph © Tom Nolan.BORDERS, acrilico su carta lucida, timbri, puntine. Trentasei disegni 29×21 cm (dimensioni totali 120×180 cm); 120×200 cm, tre disegni 42×60 cm (dimensioni totali 120×260 cm), 2014. Veduta della mostra “Whole World Working” at Collective Gallery, Edimburgo, 2016. Foto © Tom Nolan.

Goulash

FOR YOUR PLEASURE, audience interacts with the installation during the opening of “Goulash” at The Number Shop, Edinburgh, 2016.FOR YOUR PLEASURE, two channel video, sound, inflatable balloons (32 X ø 40cm), paint, 2016. Exhibition view from “Goulash” at The Number Shop, Edinburgh.

I’ll Be Your Mirror

Artificial Landscape (European Union Flag) by Alessandro Di Massimo

I’ll be your mirror. Reflect what you are, in case you don’t know
I’ll be the wind, the rain and the sunset. The light on your door to show that you’re home.

– The Velvet Underground, I’ll Be Your Mirror, 1966

I'll Be Your Mirror by Alessandro Di Massimo — Exhibition view from “I’ll Be Your Mirror” at Interviewroom11 Gallery, Edinburgh, 2014. From left to right: MANIFESTO OF WESTERN HAPPINESS, 2014; TRIPTYCH, 2014.

So perish every one that shall hereafter leap over my wall.

– Livy, Ad Urbe Condita Libri, 27 BC

I’ll Be Your Mirror is an exhibition that analyses the concept of border in relation to the contemporary. This body of work focused on how the physical and architectural nature of borders were replaced by abstract characterisations such as political, economical and cultural.

Taking its title from a Velvet Underground song, I’ll Be Your Mirror presents five new works aimed to show how the idea of border had transformed across history, and how this transition reflects changes that are happening in contemporary society.

This group of works reflects on several typology of borders such as geographical, economical, cultural, political and architectural.

The exhibition is accompanied by a catalogue. Scroll down to view a PDF version.

. . .

20th August – 6th September 2014.
Interview Room 11 Gallery, Edinburgh.

Part of Edinburgh Art Festival 2014

Enough

A JEERING CROWD, Oil on paper, 50×100 cm, 2015, Private Collection. Exhibition view from “Enough” at The Number Shop, Edinburgh, 2016. Inspired by “A Jeering Crowd: Fragment of a Mocking of Christ” by Hans Memling, 1485, from the Scottisch National Gallery collection.Interaction: spectators spray the sculpture with water during the opening of “Enough” at The Number Shop, 15 April 2016, Edinburgh.ENOUGH, (Day 7), raw clay, spray bottle, 100x25x15 cm, 2016.ENOUGH, detail. Raw clay, spray bottle, 100x25x15 cm, 2016. Exhibition view from “Enough” at The Number Shop, Edinburgh.ENOUGH, raw clay, spray bottle, 100x25x15 cm, 2016. Exhibition view from “Enough” at The Number Shop, Edinburgh.Exhibition view from “Enough” at The Number Shop, 2016. From left to right. EVERYTHING THAT CAN HAPPEN BETWEEN YOU AND ME, Kinegram animation, variable dimension (3 x A4 digital prints), 2016; HOPE/DOPE, video loop, digital frame, BT distribution box, 2016.; A JEERING CROWD, Oil on paper, 50×100 cm, 2015. Inspired by “A Jeering Crowd: Fragment of a Mocking of Christ” by Hans Memling, 1485, from the Scottisch National Gallery collection.Exhibition view from “Enough” at The Number Shop, 2016. From left to right: A JEERING CROWD, Oil on paper, 50×100 cm, 2015. Inspired by “A Jeering Crowd: Fragment of a Mocking of Christ” by Hans Memling, 1485, from the Scottisch National Gallery collection; ENOUGH, raw clay, spray bottle, water, 100x25x15 cm, 2016; ICARUS, alarm call boxes (8x8x3 cm each), glue blister, feathers, digital print, 2015.Exhibition view from “Enough” at The Number Shop, 2016. From left to right. EVERYTHING THAT CAN HAPPEN BETWEEN YOU AND ME, Kinegram animation, variable dimension (3 x A4 digital prints), 2016; ENOUGH, raw clay, spray bottle, water, 100x25x15 cm, 2016; A JEERING CROWD, Oil on paper, 50×100 cm, 2015. Inspired by “A Jeering Crowd: Fragment of a Mocking of Christ” by Hans Memling, 1485, from the Scottisch National Gallery collection.

Super Market Art Fair

Audience answering the Manifesto of Western Happiness’ questionnaire at Supermarket Art Fair with Interviewroom11 Gallery, April 2015 – Still from video ©IR11/Ellyce MoselleAudience answering the Manifesto of Western Happiness’ questionnaire at Supermarket Art Fair with Interviewroom11 Gallery, April 2015 – Still from video ©IR11/Ellyce Moselle

I’ll Be Your Mirror

ARTIFICIAL LANDSCAPE, paint, PVC, mirror paper, 2014. Exhibition view from “I’ll Be Your Mirror” at Interview Room 11 Gallery, Edinburgh, 2014. Photo © Ellyce MoselleTRIPTYCH, 2014. Exhibition view from “I’ll Be Your Mirror” at Interview Room 11 Gallery, Edinburgh, 2014.Exhibition view from “I’ll Be Your Mirror” at Interviewroom11 Gallery, Edinburgh, 2014. From left to right: MANIFESTO OF WESTERN HAPPINESS, 2014; TRIPTYCH, 2014.Exhibition view from “I’ll Be Your Mirror” at Interviewroom11 Gallery, Edinburgh, 2014. From left to right: MANIFESTO OF WESTERN HAPPINESS, 2014; TRIPTYCH, 2014; BORDERS, 2014.Exhibition view from “I’ll Be Your Mirror” at Interview Room 11 Gallery, Edinburgh, 2014. From left to right: ARTIFICIAL LANDSCAPE, 2014; BORDERS, 2014.ARTIFICIAL LANDSCAPE, paint, PVC, mirror paper, 2014. Exhibition view from “I’ll Be Your Mirror” at Interview Room 11 Gallery, Edinburgh, 2014. Photo @ Lucho CBMANIFESTO OF WESTERN HAPPINESS (Magenta Edition), audience listening to the audio installation. Exhibition from “I’ll Be Your Mirror” at Interview Room 11 Gallery, Edinburgh, 2014.ROMOLUS & REMUS, tape, chair, loop animation and sound, 2014. Exhibition view from “I’ll Be Your Mirror” at Interview Room 11 gallery, Edinburgh, 2014.

Transitions In UX Design

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.

Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts.