Special project...Flashback is opera viva

Ilaria Abbiento, Mediterraneo 2016

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Ilaria Abbiento
Mediterraneo 2016

Inauguration Monday, December 20th 6.30 p.m. 
Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The ninth poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair, is inaugurating in piazza Bottesini on Monday, December 20th at 06:30 p.m. and live on  – @flashbackfair: Mediterraneo 2016 by Ilaria Abbiento

This work is concluding the visual tale made up this year by the posters of the Opera Viva Barriera di Milano project. Ilaria Abbiento is presenting a photographic work titled Mediterraneo 2016: four women, whose head is covered by a veil, contemplate the sea, which has been the gravity center of the author’s search since her debut. 

Just like the previous posters, also this one is questioning the change, the mutation, the transformation we are being through these very years.  In doing this, she relies on the sea: a privileged place and device of intelligence and knowledge, of both the physical and intellectual exploration. A surface and a depth where to find yourself, loose and find it again, where to reflect in it, discover oneself and the world.  

This Mediterranean is therefore a physical place and – at the same time – a mental, spiritual and cultural one: the mirror of our rich articulated identity.  From millennia, a mirror of what scholar Donna Haraway defines “co-thinking”, “co-becoming”. Living with and sharing – between genders, species, individual and communities – thus lie therefore at the roots of a form of thought that is completely different than the one that still rules the greatest part of the individual and collective life patterns.  They imply the will to at last leave the entirely fictitious comfort of an unsustainable existence and build up a shared world and a shared way of living in the world.  Of staying together. 


Ilaria Abbiento was born in Naples in  1975.  For many years, has her artistic practice – constellated by images and matter –  been dedicated to the sea; it covers imaginary cartographic itineraries  for a poetic investigation of her inner ocean.  Ilaria  was  a pupil of Antonio Biasiucci, and has undertaken a pathway of author’s photography search.  Her works were exhibited in several Art Galleries and Museums, both in Italy and abroad, such as Al Blu di Prussia in Naples, Le Quadrilatère in Beauvais (France), L’Art Pur Gallery in Riyadh and Hafez Gallery in Jeddah (Saudi Arabia), la Galleria d’arte moderna in Catania, The Museo Macro in Rome, the Museo Madre and the Museo di Villa Pignatelli in Naples, as well as in Contemporary Art fairs such as Artissima and ArtVerona. Some works are part of Art Collections such as Imago Mundi Art, of L. Benetton ’Archivio del Fondo Malerba per la fotografia, Mediterraneum Collection and Biblioteca Vallicelliana in Rome. She participated to several artist’s internships, amongst which BoCs Art in Cosenza, The Photosolstice in Asinara (Sardinia) and Plaza Art Residency on the island of Capraia, in the Tuscan archipelago. She has won several awards, amongst which an artist internship in Corsica with the Photolux Festival of Lucca, in collaboration with the Centre Méditerranéen de la Photographie of Bastia. The artist is currently represented by Claudio Composti (Artistic Director of  mc2gallery of  Milan) and Beatrice Burati Anderson Art Gallery of Venice.

Tatiana Villani, Estrusione 02#01

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Tatiana Villani
Estrusione02#01 (2020)

Inauguration Wednesday, November 24th 6.30 p.m. 
Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The eight poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Wednesday, November 24th at 06:30 p.m. and live on Facebook  – @flashbackfair: Estrusione 02#01 by Tatiana Villani (2020). 

For this eight episode, Tatiana is presenting an image taken from her project Estrusione 35 cm³ , whose first version was exhibited on an artificial lake in Empoli in 2017, within the framework of Un sentiero di segni / Arte e Ambiente (A pathway of signs / Art and Environment). In 2020, the sculpture – a transparent cube – was put onto the surface of lake Massaciuccoli, letting emerge that part which usually remains under the level of the water. Then, natural elements such as leaves, branches and insects.

The installation and the documenting photograph therefore dig into the reality of the landscape, making visible what is invisible.  In particular, this extrusion occurred in Massaciuccoli in early September 2021, in the Harbor channel, close to the entry to a “clear”: the cubic element was located onto an “aggallato”, i.e. a small island composed by rushes floating on water, a very significant agglomerate for the ecosystem of the reserve, 

The image by Tatiana Villani narrates the environmental concerns of this historical moment, the continuous transformations of the ecosystems, and how nature can recreate and reconstruct itself. As she has been reported by the Lipu operators, with whom the artist has established a dialog, the lake and the swamp area were in trouble: for years have the different institutions that care for the environment attempted to restore sustainable conditions, but the results could start to be seen only in 2012. “From then on, the lake started to act on its own… The natural ecosystems, when they are sufficiently extended and complex, have a capacity of resilience you sometimes would not expect. This is what has been happening on lake Massaciuccoli: since 2012, a slow reappearance of submersed vegetation has started to reappear along the whole East and South shore of the lake”.

Thus, a new start, on the environmental, cultural and social point of view is not only possible, but it is already in progress. As it is witnessed by this poster and by the previous ones 


Tatiana Villani. Born in Bergamo in 1974, Tatiana Villani grew up in Lecce, a land she then left to pursue her studies at Accademia di Belle Arti in Florence. From 2007 to 2011, she lived in Berlin, where – amongst her various activities – she cooperated with international project Happenstudio, Platform for contemporary art. 
 In these very years, the artist started to resort to several media (painting, photography, installation, and video) to deal with themes related to international art, to the sociopolitical condition of Man and to his relationship with the environment. Her activity ranges from the visual arts to theater up to art therapy applied to various areas of social life. 

Alessandro Bulgini…Servomuto, d’aprés Fabio Mauri

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Alessandro Bulgini
Servomuto (2021)

Inauguration Wednesday, October 27th 6.30 p.m. 
 Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The seventh poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro, is inaugurating in piazza Bottesini on Wednesday, September 27th at 06:30 p.m. and live on @flashbackfair. Like every year, the poster developed by Alessandro Bulgini is exhibited at the time of the fair.        

After the laid table of the “senzazioni” project by Emanuela Barilozzi Caruso, after the people lining  in front of Multicinema Modernissimo in Naples, photographed by  Erika Nevia Cervo in Utile, the poster deployed on a double (analog and digital) level of  Mariapaola Infuso’s poster, the sweet post-human by Lucrezia Testa Iannilli, the visual almanac by Federica Peyrolo and imagination as  rebellion by  Federica Belli, this seventh episode – namely  Servomuto by  Alessandro Bulgini – is offering a sophisticated, sharpened reflection that integrates the tale the sequence that has been deployed so far.

On the white background, enclosed by two simple horizontal red bands above and below (red has always been the distinctive color of the Opera Viva macro-project), Bulgini writes SERVO MUTO in black. In the 18th century, the term servomuto used to identify a stool in various levels which – in the Venetian servidor – were crossed by a vertical rod. When the ladies left after dinner, the waiters put them – in said structure – at both ends of the table, loaded with drinks and liquors, so that the gentlemen could help themselves: the personnel then left, so that the conversation could go on without the presence of indiscreet ears. On the other hand, in the early 20th century, clothes played a significant social role: mainly for the women, a determining factor would be the ability to quickly wear a different outfit, depending upon the different situations of life.  This is how, therefore, in the last century the servomuto became the clothes-stand. This object was also used by Fabio Mauri in 1995 within his exhibition Ariano – in contrast with the previous Ebrea (Jewish woman) –  where the racist leans to the feeling of security and belonging to the community his “respectable” clothes ensure him  (thus as adhesion to a to a value system founded on hypocrisy and prejudice)

For Alessandro Bulgini, the “servomuto” is today the artist. 

The servomuto-artist may be – as it unfortunately happens all the time – a merely decorative ornamental element: the creative equivalent of a liquor stool that is silently contemplating the dynamics of power; a character that is retained to leisure time rather than to that transformation of life which has been  the main task of art in any time, and which has been the underlying theme of the whole series of the posters developed this year . 

Or else, the artist that works at a servomuto can play a far more positive, decisive role.  In our time of structural oversimplification and of inability to understand the, in a time of egocentricity, selfishness, individualism and self-representation carried to extreme, dominated by the constant spasmodic search for “consent” (such as the “likes” and their equivalent in real life…), the servomuto-artist may be the one who really put her/himself to the service of the community and of the territory – of the Other and of the others – in an active silence, which is though not servile or renouncing. The silence of those who prefer keeping on constructing instead of devoting to pointless polemics.  

Through its writing, the poster presents itself in a deliberately ambiguous contradictory manner, opening to the interpretations of a reflection which – as usual – leaves the narrow world of art and stretches to the whole social reality that surrounds us and in which we are immersed.   


Alessandro Bulgini was born in Taranto in 1962; he lives and works in Turin. After his degree in theater scenography at the Academy of Fine Arts of Carrara, he lived in various Italian towns: Rome, Milan, Livorno, Venice, Genoa, and Taranto, to which he owes the absolute independence and individuality of his work. Difficult to be assimilated and framed into any artistic current, Alessandro Bulgini utilizes a wide spectrum of means to narrate and act with and on laterality, diversity, physical and cultural suburbs. Painting, photographer, video, performances and new media are all means to talk of the invisible and to show how much the oblique look may reveal other, different and viable pathways. Several personal and collective exhibitions, both in Italy and abroad with the cycles of works: “Le Déjeuner sur l’Herbe” starting from 1993 and “Hairetikos” since  2001, amongst which we remind  Fondazione Volume!, Rome – Centre International d’accueil et d’echanges des Recollets, Paris, Dena Foundation for Contemporary Art, Paris, New York – Fondazione Pastificio Cerere, Rome – Castello di Rivara, Rivara – Sound Art Museum, Zerynthia, Rome – CIAC, Castello Colonna, Genazzano – Castello Sforzesco, Milan – Castello Cavour, Santena – Cordy House, London – Fondazione 107, Turin – La Triennale, Milan – Frost Art Museum, Miami, Florida – Loft Project Etagi, Saint Petersburg , Russia – Museo Ettore Fico, Turin – HVCCA, Peekskill, NY- Biennale Democrazia, Turin. In 2008, the painting work Hairetikos makes a further displacement with the addition of the Opera Viva cycle, by which he has also joint Facebook, since its inscription on November 15th 2008, Opera Viva, which is still in progress, is a social work that resorts to the active contribution of all its participants: a work through which the artist develops innovative modalities of artistic use of both the network and the territory. Hence, the inauguration of the B.A.R.L.U.I.G.I.  project (Opera Viva) from a bar in the suburbs, states the simple rules to turn existent spaces – such as bars, butcheries, private houses or full villages – into creative welcoming spaces without any filters, free of charge and no profit.  Such spaces are connected to one another through individual Facebook pages, under of the same banner of the b.a.r.l.u.i.g.i. Logo. 19 of them have been developed the world over. After the closure of the  b.a.r.l.u.i.g.i. basis, he deployed his activities even further to the territories, with the intention of contributing to let them be known better. Starting from his own neighborhood, Barriera di Milano in Turin, whose sidewalks he started to “decorate” with the chalks (Decoro Urbano in Barriera di Milano 2014, 2015) and not only (Opera Viva, Tatuaggio per Barriera, 2018), (Opera Viva, Orto Urbano in Barriera di Milano, 2018), (Opera Viva Barriera di Milano, Affissione, 2015, 2016, 2017, 2018) etc. Then, Opera viva activates eclectically for the towns for the towns of Taranto (Taranto Opera Viva), Cosenza (Cosenza Opera Viva), (Opera Viva, The Legends of Peekskill, NY. A shot for a wish) Peekskill – New York, USA, Livorno and then again for the Building of Via Cuneo 5 bis (Turin, quartiere Aurora) with the  Arte In-Stabile project, for the hospital of S. Anna in Turin, for the town of  Imlil in Morocco, for the Jungle refugee camp of  Calais (Opera viva, the Jungle), for the grammar and primary schools  (Opera Viva, Scuola di Volo) and for all those territories that need and will need it, developing an innovative methodology that boasts elements of both public and relational art. A commitment towards the collectivity, which must be involved and represented, in the belief that art must enter the everyday life to re-generate and be actually “alive”.

Federica Peyrolo, Almanacco

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Federica Peyrolo Almanacco (2021)

Inauguration Thursday, September 2rd, 6.30 p.m. Piazza Bottesini, Turin

and live on Facebook (@flashbackfair)

The fifth poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Thursday, September 2rd at 06:30 p.m. And live on – @flashbackfair: Almanacco by Federica Peyrolo (2021).

In this seventh edition of the Opera Viva Barriera di Milano project, the tale that deploys year after year carries on with its fifth episode, namely, Almanacco by Federica Peyrolo, whose search focuses on the meeting and relationship, on the link and the dialog

The work developed by the young artist from Susa is a digital poster consisting of 599 drawings on paper, which were developed throughout 2020, which is nowadays the annus horribilis by definition: these drawings compose only one image where you can reflect yourself and find the others again, where every time can you recognize the empty and the full. The richness of data and information contained in this image renders the accumulation of individual and collective stories, just and an almanac does. This particular almanac records a shared experience, which is – at the same time – traumatic and essential, difficult but – in many ways – interesting: its relevance lays in its ability to capture sensations and feelings that – otherwise – would disperse in white noise.

As the artist states as related to her work: “There is something I would like to yell, something I would like to reach running barefoot in the snow, I try to stay afloat, but little is sufficient to take me back where you can’t breathe, where everything is immense and seems it no longer belongs to anything. In this everything, I no longer manage to see anything: I look for footholds, stories, links, but the full empties, they are only flows of images, of memories: a full that seems to have to end soon, which is never worth it . I remember “us” when we used to say: “because it is worth it”; they were infinite sandcastles, one on top of the other, but I had never realized how much building was faster than the sea. Now, it is not like this. I am lying beside my different constructions, I look at them being swallowed by water and I do not do anything. I am waiting to be caught I remember “us” when we used to say: “because it is worth it”; they were infinite sandcastles, one on top of the other, but I had never realized how much building was faster than the sea. Now, it is not like this. I am lying beside my different constructions, I look at them being swallowed by water and I do not do anything. I wait to be caught in the wave, but I do not decide, I no longer know how to hope, my eyes are not shining, I am crying. It is like a useless, unjust war, a self-declared war: everything is fine, the sky, the colors, the money, the friends, everything is granting me affection and I cry. I only see the end of everything, without managing to see the fullness in the middle of where I am. I am drowning. Drowning in a dry sea. I can’t breathe because I have too much air.“

Federica Peyrolo (Susa, 1989) started her artistic practice in 2010, dedicating herself mainly to videos and performances. After the bachelor degree at Accademia Albertina in Turin, she completed her studies in Visual Arts at the ’École Supérieure de Beaux Arts of Le Mans in 2014, and attended the post-graduated Le Fresnoy_National Studio of Contemporary Arts, Tourcoing. Her search focuses on comparison and link, which are almost always declined in the form of a dialog that – on the one hand – involves the person and – on the other hand – is sometimes answered by the objects of everyday life, by the memories, the music, the human experiences and – sometimes – by the very elements of nature. Her projects were presented in institutions and festivals such as: offsite Art (L’Aquila), Paris Nuit Blanche FRASQ le Générateur (FR), International Art Festival Nanjing (CHN), Siderare’15 Fondazione VOLUME! (Rome), collezione IGAV Castiglia di Saluzzo, Galleria Moitre (Turin), Galleria SubRosa (Athens), Cittadellarte – Fondazione Pistoletto (Biella), Galerie du Dourven (FR), RESO’ 2017 Lugar a Dudas (COL).

Lucrezia Testa Iannilli, Gates

Flashback, all art is contemporary


The Flashback Special Project Opera Viva Barriera di Milano, il Manifesto

Lucrezia Testa Iannilli 
Gates (2021)

Inauguration Wednesday July 28th, 6.30 p.m. 
Piazza Bottesini, Turin
and live on Facebook (

The fourth poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini in Turin on Wednesday, July 28th at 06:30 p.m. and live on Facebook – @flashbackfair – il with work Gates by Lucrezia Testa Iannilli (2021).

In this seventh edition, the tale that deploys month after month is now keeping on with its fourth episode, namely Gates, the poster devised and developed by Lucrezia Testa Iannilli, photographer and performer. 

Her search privileges the human and animal body as an instrument of perception, which becomes the subject of her acting and photographic images. According to her thinking, the non-human condition is most likely the only one that can save the human being. Therefore, also her work reflects – from a different point of view than the one of the previous authors – on the dramatic – but also interesting – consequences of the pandemic, on the human psyche in particular.  Lucrezia Iannilli focuses on the animal as a therapy. “Anxiety and depression, catalyzed by loneliness, fear of the contagion, uneasiness and limits to personal freedom have been diagnosed with increasing extension and have turned for many into post-trauma stress. The animals have somehow acted as a shield for our mental health. If they already had a good connection, it was further reinforced”. 

In the image, the author proposes a “mild” fusion between animals and humans, under the banner of reciprocity and of the continuous exchange of roles. These New Humans – on their turn, actual “doors”, openings towards other dimensions, closely recall the “New Creatures” investigated by Jim Morrison in his second poetry collection, published in 1970: “Lizard woman / with your insect eyes / with our wild surprise. / Warm daughter of silence. (…) Dogs lie sleeping. / The wolf howls. / A creature lives out the war. / A forest. A rustle of cut words, choking river.” (Jim Morrison- The New Creatures). 

Therefore, Lucrezia Testa Iannilli’s vision draws a scenario where, after the end, – after one end – the new beginning presents itself as a fertile transfer of shares and portions of identity, a faithful hybridization of the species and a happy overcoming of the merely human, western and technological perspective, which nowadays is showing all its cracks and criticalities. 

Lucrezia Testa Iannilli (Rome, 1977), photographer and performer, uses inter-disciplinary tools of investigation.  In her research practices, she intervenes with installations and performance cycles in contextualized spaces, using – as an instrument of vision – the human body and the animal one, mainly horses, which are the leitmotiv of many performances and photographic works.  In 2015, did she start collaborating with Gallery FPAC of Francesco Pantaleone, with whom she presented a series of shots at MIART 2015 and 2016 and – in January 2016 she participated to the Fuori Formato in the Open Wall section: a working-pro collection of 22 shots, selected in one year of work and outings together with Italian actress Sabina Guzzanti. In 2016, she started project of Game of Vanth, where she unites men and animals in site-specific performances and installations to give shape to the immaterial vision of the Openings in decontextualizing frameworks. In 2021, she started the New Humans long-term job: an investigation on the preservation of the human being in an unusual, non-human perspective. 

Mariapaola Infuso, ***topia

Flashback, all art is contemporary


 The Flashback Special Project Opera Viva Barriera di Milano, il Manifesto

Mariapaola Infuso 
***topia (2021)

Inauguration Wednesday June 30th, 6.30 p.m. 
Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The third  poster of  Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair, is inaugurating in piazza Bottesini  in  Turin  on Wednesday, June 30th at 06:30 p.m. and live on  – @flashbackfair with work  **topia by Mariapaola Infuso (2021).

After the laid table of project  senzazioni by Emanuela Barilozzi Caruso and the row in front of  Multicinema Modernissimo in Naples,  photographed by  Erika Nevia Cervo in Utile, this new  – all feminine – direct-drive tale of project  Opera Viva Barriera di Milano continues with its third  episode, namely the poster devised by Mariapaola Infuso.

In this work, the artist imagines the advertising billboard in Piazza Bottesini as a sort of screen where an image is installed, and this image – on its turn – works as a gathering and melting point. ***Topia  fits on the double analog and digital level : at the center of the rectangle, which looks like an abstract work, a veil reflecting the reality of the roundabout overlaps a collage of digital images of the neighborhood . Hence, the subject of the work is a double register of perception of  Barriera di Milano, following   a pathway and a reflection  the author explains as follows“***topia is a space that is connected to all the other spaces, a place that opens to other places, whose  function is to relate the environments and the people. A real place where you are allowed  to reflect in it and give yourself a break, a pause. A window on the neighborhood, which recalls the  observer’s participation to the relationship with the work. ***topia is circumscribed by a mirror that reflects the town, the neighborhood and the observer. A mirror to look at yourself, where you watch reality and observe it with different eyes. A place for  awareness, to reflect and question today’s world and  the contemporary society, which is afflicted by a difficult historical moment. A space outside the usual perimeters of our contemporaneity, outside the houses and outside the museums, on the road, where everything happens under sunlight”.

In the theory and practice of  Andy Warhol’s pop  art, for instance, the intimate nature of reflection does not only lay in mirroring ourselves, our identity (so that we can know and recognize it), but in reflecting reality within ourselves, so that we can recognize reality itself and its truth: “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 / When you think the night has seen your mind / That inside you’re twisted and unkind / Let me stand to show that you are blind / Please put down your hands / ‘Cause I see you” (Velvet Underground, I’ll Be Your Mirror, 1967).

 ‘On the road, where everything occurs under the sunlight’: Alessandro Bulgini and Christian Caliandro maintain  that this sentence by  Mariapaola Infuso could almost be a watchword for the whole Opera Viva Barriera di Milano project, which for six editions has actually be based upon the idea of an art that leaves the  conventional institutional exhibition spaces to venture into the urban space and the world’s tissue. 

Born in Turin on September  1995, Mariapaola Infuso has attended the New Technologies of Arts curriculum of studies at Accademia Ligustica in Genoa. Her expressive method is multi-disciplinary and stratified: photograph, installation, video and animation, but also the care for both matter and space are the basis of her artistic research. She analyzes the flexibility of the photographic medium to approach the means from a large variety of possible angles; stripping off and reassembling the image as if it were living matter. The work she pursues is the investigation on the most fragile human sides of  current society.

Erika Nevia Cervo, Utile

Erika Nevia Cervo, Utile “Useful” (May, 2020)

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Erika Nevia Cervo
Utile (Useful, 2020)

Inauguration Thursday, June 3rd, 6.30 p.m. 
Piazza Bottesini, Turin

and live on Facebook (@flashbackfair)

The second poster of Opera Viva Barriera di Milano, il Manifesto, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Thursday, June 3rd at 06:30 p.m. and live on – @flashbackfair: Utile (useful) by Erika Nevia Cervo (2020)

After the laid table of senzazioni by Emanuela Caruso, which came to light at the artist’s home in Palermo in the month of March of this year, the phase we are witnessing – as narrated through the works of the winners of the call for the sixth edition of Opera Viva Barriera di Milano – is now continuing with Utile, the poster by Erika Nevia Cervo. The photograph portraits a situation that was impossible, at least in last year’s May: an orderly, outdistanced row of people in front of the lowered shutter of Multicinema Modernissimo in Naples. 

Friends and acquaintances of the artist made themselves available to the development of some sort of “painting” which reproduced a condition which was unfortunately far from reality, and – therefore – of suspended normality. A network of institutions and associations (composed by artistic collective ABC, by the Nation 2.0 platform – whose headquarters are in Dubai, in the Arab Emirates – by Mincione Edizioni and by Spazio Y from Rome) invited the artist to develop a work on the concept of basic necessities

The result is the project condensed in this image: a criticism to the rhetoric of the “primary needs goods” that characterized this year of pandemic, mainly at its initial stage: a rhetoric linked to criteria of efficiency and productivity which – by its own nature – has largely removed culture, its working realities and places.  

As the artist herself states: “In the very first period of the ‘Covid era’, in full lockdown, I suffered from the basic needs diktat: a stage where the Italian government, forgetting the essential significance of the cultural production, was hurrying to give to the first aid to the industries. Amongst the darting of the police trucks, in a surprisingly deserted Naples, did I gather a small group of people (mainly actors, artists and musicians) who would stand in a row in front of a closed movie theater”.

Erika Nevia Cervo is therefore reflecting on this theme starting not only from her own artistic vision, but also from her own life experience and profession, which is linked to the theater. Thus, the row patiently waiting in front of the multiplex movie theater (with the playbills of Volevo nascondermi and Parasite, i.e. of the last pictures watched before a very long interruption, to portrait a precise historical and collective moment) renders the image of a condition that is still extremely current after exactly one year. 

What these people and this image are stating is that art and culture are primary, essential goods; they are useful by definition and – as such – they should be available to everybody, at any moment. 

Erika Nevia Cervo deals with the rediscovery and regeneration of the self through sculpture. The artist uses different materials and media depending on the expressive needs. She is a co-founder of studio Cervo, in the historical center of Naples. Graduated at the High School of Arts and Bachelor in Archeology and History of Art at University Federico II in Naples, Erika was selected at the call Reclaim of Cheap festival 2020, poster billposting in via Marchesana in Bologna. She won the Exibartloves Verona 2018 contest and she is the author of photograph publication “psnluci” on issue 102 of Exibart paper edition.

Emanuela Barilozzi Caruso, senzazioni

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Emanuela Barilozzi Caruso
senzazioni (2021)

Inaugurating Wednesday 5th May, at 06:30 pm
in Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The first poster of Opera Viva Barriera di Milano, il Manifesto a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Wednesday May 5th at 06:30 p.m. and live on – @flashbackfairsenzazioni by Emanuela Barilozzi Caruso (2021).  

The first poster of Opera Viva Barriera di Milano sixth edition – amongst the eight winners of the open call, is by Emanuela Barilozzi Caruso (who had already won the call in 2019). The photograph shows a bird’s eye view of a table dressed and full of dishes, cutlery, glasses, bottles and food remains: on the tablecloth do we recognize writings, drawings and messages.

They are the traces of a complex project titled senzazioni (feelings), which involved the artist – who moved to Palermo last year, right at the beginning of the pandemic – and a group of friends and acquaintances. The work, which was built day after day, is focused on relationship, exchange and experience. This work lives in close dialog with the physical and regulating context it was born in and – in particular – with the social limits due to Covid that came into force this spring. The D.P.C.M. of March 2nd 2021 states: ““Within the Regions the measures established for the orange area apply to, the displacement to only one inhabited private housing facility is allowed once a day – in a timeframe between 5:00 a.m. and 10:00 p.m. – and within the limit of two people in addition to those who are already living together there.”

The table set by Emanuela Barilozzi Caruso by the occasion was not cleared up for eleven days, and it hosted three breakfasts, four lunches and seven dinners for twenty-five guests, divided by two at the time The result is a set of photographs – amongst which the one that has been selected for the poster – that document the moments of dialog and meeting. Of course, a work of such kind transcends the visual evidence, and lives mainly in the dimension of direct experience and of the subsequent recalling. 

As the artist states: “senzazioni is a collective work, made of ideas, laughs, silence, embarrassment, encounters and separations.  We have been together in full safety and we have left dishes, cutlery, glasses, drawings, notes and food remains as a spontaneous trace for those who would come afterwards. It was a precious, intimate opportunity to see the others and deeply recognize them. sensazioni is a group photograph – in time and space – which tells a certainty: at the basis of life and art there lie the human relationships, which can sicken, but also heal us”.

This idea of the human relationship which can treat and heal us is the result of a reflection that has been carried forward throughout last year, and produced by the huge mutation we are all witnessing. Just in a moment where meeting people , the other, is so difficult, this project claims the significance and need of this dialog, of this listening, even though in full compliance with the  rules. This reveals as a precious core the need of the individuals to be themselves once they gather around the table, to give the best of oneself, to transform – spontaneously overcoming any temptation to stand out and any urge to be at the center of attention.

Emanuela Barilozzi Caruso (1983) was born, lives and works in Rome. Photographer and performer, she exhibited in significant events and attended several residences: Indian Pavilion at the Biennial of Prague, 2011; Biennial of Venice, 2013; Macro, 2014; Salon, 2015; BoCS Art, 2017.‎  She started her career as a professional actress and now she is a visual artist, who currently live in Palermo. Graduated at the Academy of Fine Arts of Brera in Milan, her work is characterized by the use of photography, drawing and performance; a work that suites the situations where she has to act. Emanuela’s interest focuses on the relational processes she witnesses first-handily in an always wide diversified time, whose results are disclosed through works on paper, photograph prints and performances.

Art never gives up. At the start of the VII edition of Opera Viva il Manifesto

Flashback, all art is contemporary
The Flashback special project, Opera Viva Barriera di Milano, il Manifesto


The 8 women artists who won the Opera Viva call and the first poster:

“senzazioni” by Emanuela Barilozzi Caruso (2021)

Wednesday May 5th at 6:30 p.m. 

Piazza Bottesini, Turin

Contemporary art has not stopped, in spite of the color changes and the several lockdowns. The artists have continued reflecting on the current situation as well as on the world to come. The reference to the pandemic in progress could not help surfacing also in the response of the eight women artists who won the call launched by Flashback, all art is contemporary for Flashback è Opera Viva, aimed at developing a large-sized poster, which will be posted every month, starting from May 5th2021, in piazza Bottesini, cimasa 50530 – the very heart of neighborhood “Barriera di Milano” in Turin. 

“In this seventh edition of Opera Viva Barriera di Milano, il Manifesto – underlines Christian Caliandro, curator of the project and member of the selection jury – all the eight winning posters have been developed by women artists: the result was not expected, but I am glad about it because I believe it reflects this significant historical moment. The winning images narrate – each with its own approach and style – well the complex phase we are witnessing, without ever being moralistic. Political consciousness, attention to nature and to the environment, resistance, centrality of the relationships, fatigue and repetition but – mainly – hope and the conquest of a new awareness are the themes the public will be able to read in the posters”.  

By this project – devised by artist Alessandro Bulgini in 2015 – the municipal space, which is conventionally reserved to advertising billboards, will host the work of an artist and accompany the people throughout the year, becoming part of their days and thus underlying the “everyday” function of art within a context and in an urban community. Throughout the years, 34 national and international artists have been involved in this large project of outdoor art patronage.  

The first of the nine posters, which will follow one another in piazza Bottesini in the forthcoming months, will be inaugurated – also live on Facebook on channel @flashbackfair – on Wednesday May 5th at 6:30 p.m. The work that is opening this year’s urban art cycle is strong and meaningful for the time we have witnessed and are witnessing: “senzazioni” (feelings) by Emanuela Barilozzi Caruso.


The artists who won the seventh, 2001 edition, besides its creator Alessandro Bulgini, are: Ilaria Abbiento, Emanuela Barilozzi Caruso, Federica Belli, Maria Paola Infuso, Erika Nevia Cervo, Federica Peyrolo, Lucrezia Testa Iannilli and Tatiana Villani. 

Members of the selection jury:  Alessandro Bulgini, visual artist and creator of the project, Turin; Christian Caliandro, curator and art historian, Bari; Iginio De Luca, artist, Rome; Fulvio Gianaria, chairman of OGR, Turin; Ginevra Pucci and Stefania Poddighe, Flashback’s directors, Turin; Diego Sileo, curator of PAC Padiglione d’Arte Contemporanea, Milan.

Opera Viva, il Manifesto…Open Call

Expiry date March 22nd 2021

The terms are open – up to March 22nd – to participate to the fourth edition of the call for visual artists

a project by Alessandro Bulgini
curated by Christian Caliandro

>> download the call

The Call dedicated to the artists who want to put themselves at stake confronting the territory of neighborhood. Barriera di Milano in Turin is opening for the fourth consecutive year.

Since 2015, many have occupied the 6 x 3 space for public billposting in piazza Bottesini in Turin. Both very young and well-known Italian and foreign artists have dealt with the territory, taking the challenge of creating a work that could enter the lives of the neighborhood’s inhabitants with force and respect, accompanying their routine day after day 

This year, 8 artists (9 in total) – like the whole project – “Flashback, all art is contemporary “, are called to participate, with no limits of age or nationality, time or space. The jury charged to select the projects shall be composed, like in the previous years, by artists, curators, art critics and museum directors. 

The term for the shipment of the materials is established by Monday, March 22nd 2021.

The Project 
Opera Viva Barriera di Milano, il Manifesto, is an urban art project that adds meaning to the concept of public art thanks to the use of the pre-existent in conceiving the artwork – in the specific case a 6x3m municipality space for public billposting (cimasa 50530)   in Piazza Bottesini in Turin (Barriera di Milano, a multi-ethnic neighborhood) – interpreted by national and international artists throughout the year.

The project develops around a precise idea of the relationship between art and public space, and of the function of a work within an urban context and community.

Through this operation, Flashback connects different areas of the city of Turin and different time zones (the ancient, the modern and the contemporary in its beginning), believing that art must leave the institutional spaces, go down to the road, stretch towards reality, constantly move through it, happily integrate into the dimension  of everyday’s existence,

“Il Manifesto”
A 6x3m poster in the roundabout of Piazza Bottesini pulses in the heart of Barriera di Milano, i.e. one of the most interesting neighborhoods of Turin, rich in history, identity and future, thanks to artists of different background and style,  who though share an original innovative approach to the artistic practice.

The life streaming
For each new poster, a life streaming shall involve the protagonist artist, the creator, the curator and those who are responsible for the project. All of them shall be enabled to participate and intervene. The meeting is aimed at analyzing in depth the meaning of the poster, the poetry of the artist and the motivations that have made him/her deal with the territory.

The exhibition
During the five days of event Flashback, all art is contemporary, in Turin the first week of November, the images of the posters – as well as all the collected fragments of life -shall be gathered to tell the window, open on the world and for the world.

The talk
An appointment of discussion on the meaning of “public art” is developed every year in the Art Lounge of the fair that – in 2021 – reaches its ninth edition: an analysis of the function of the artwork as agent-reagent within a community, starting from Turin’s experience.

The labs
A pedagogic project, born with the will of extending and narrating the reflections on the theme of the use of art as cultural experience of awareness and citizenship, which involves the primary and grammar schools of the neighborhood. The students shall be the protagonists of a four-appointment experience that starts from the narration and from the visit to the posters which will be developed.  

>> For further information: operaviva@flashback.to.it

Opera Viva Barriera di Milano, il Manifesto 2021
Open call for visual artists
Expiry date March 22nd 2021