↑ Font in use: Ravioli. Try it on Habitat Tipoteca!
Vena @ Habitat
31.05 – 02.06.2025
Cà de Monti, Tredozio (FC), Italy
VENA and HABITAT cult(r)ural centre reunite for the second edition of a gathering shaped by cohabitation, suspended landscapes, and shared principles.
Two days of collective immersion in the rolling hills of Romagna Toscana, on the edge of the Casentino Forests, toward new possibilities for a human and sonic ecosystem.
In a time of transition, this micro-festival continues to inhabit the threshold between territory, artistic practice, and sustainability as a living, evolving collective laboratory.
An expanded vision of residency as radical presence, encounter, and temporary space for transformation.
An invitation to dwell in sound, traverse the landscape, and resonate together.
Entangled currents and scattered traces, crumbs upon the stones. A shifting landscape: our shelter, our mirage. An echo of something real, yet never fully so – and it vanishes the moment you reach for it.
1. The Gentle People - Emotion Heater (Instrumental mix, excerpt, pt. III)
2. Endeavour (民藝復興), O
3. Francis Plagne, I
4. Crescent, New leaves
5. Pieter Kock, Bright Bars From the Stars
6. Tarquin Mane, m. quake - annie u r a bird (ft. jonnine)
7. Earl Zinger, Egyption in the Red
8. Rhythm Doctor, SOMEDAY, SOMEWHERE
9. Cluster, James
10. Mina, Noi Due
11. Pol, Dimda
12. Shelter & Orion, La Lunga Strada Di Sabbia (Di Giornio)
13. Television Personalities, Diary of a Young Man
14. Wolfgang Dauner Quintet, Take Off Your Clothes and Feel the Setting Sun
15. Jim 'an' Joe - a place to hang his hat (hatless)
16. Kalahari Surfers, Free State Fence
17. Shit and Shine, Joy 06
18. Borja Flames, Big Bang
19. ll'anaspesie col dens mevein
20. Microwave, Hey Boy
21. The Gentle People, Emotional Heater (remixed by Yoshinori Sunahara)
22. Mike Cooper, Rehu Mohana
23. ???
24. Hill, unknown artist
Mixed by Herbalife and B forever.
Recorded in front of the bonfire on the 26.04.25, from the chicken house in Cà de Monti.
quelli che frequentano la roccia
TOMORROW (26.04.2025) in Cà de Monti, as part of Habitare and in collaboration with Sygma Radio:
Bonfire, live recording and listening session with me as Herbalife and B forever. Starting at 21.00.
+++ rrrapido and Torpedo, Classical Hooligans. Until midnight.
Habitare 2025
Happy to share the first part of the programme for Habitare!
The programme of Habitare 2025 is flexible and constantly evolving, as it is based first and foremost on the presence of artists in residence. This approach guarantees the proximity that we consider essential for the sustainability of our events. Nature also plays a fundamental role, suggesting and inviting us to participate in its occurrences. For these reasons, the programme is to be considered a continuous work in progress, to which new concerts, workshops and situations will gradually be added.
Made during the Vernacular Care week between Habitat and Critical Studies, the letters were shaped and created by the nails that were pulled out of the wooden planks of the future chicken shelter.
↑ Nails used as modules to construct the letters
21.03-2025
16.03-21.03.2025, Ca de Monti, Tredozio (FC).
Thanks and love to all the students and friends from Critical Studies, Sandberg Instituut: Emma Nyhof Aidari, Taylor Anthonisz, Benni Ciappini, Franek Dziduch, António Manso Preto, Macarena Magaña, Paul Victor Schmidt
Christina Reinhardt, Tola Swietlicka, Philippine Talamona, Sara Vallis, Aaron Wells. Together with my Habitat mates: Giuseppe, Poni, Chiara. Enrico.
"Posterificio" is a collaborative (demo version) tool for arranging sequences of printed pages. The application functions as a shared platform and editor for images and text, synchronized across all devices connected via browser. It supports uploads of .jpg, .png, and .heic files, applying a four-color dithering compression. It also uses a web-to-print process to generate a printable A4-sized PDF.
Developed within the framework of the Temporary Printing Unit at Ripe San Ginesio by Poni, remixed for Critical Studies by Philippine.
09.03-2025
Quelli che frequentano la roccia
giornata di rilievi
05.03-2025
↑ Poster disegnati per una Assemblea di iniziativa popolare, volta alla discussione del futuro della Chiesa di Sant'Anna a Venezia.
Sono felice (anche come Habitat) di aver contribuito in piccolo modo ad una azione di resistenza e confronto, senza le quali vedremo ben presto le nostre città (con le loro identità) sbriciolarsi sotto ai piedi della turistificazione e mercificazione della cultura.
Un monte, un'isola, un monte isola. L'Hotel Paradiso e le pompe di benzina. Un sacco di bar fantasma e poi gli alberi galleggianti.
Gita a Monte Isola, sul lago di Iseo - che tra l'altro è la più grande isola lacustre d'Italia.
Back from the holiday season with a cover I made for my friend and composer Lorenzo Travaglini. The cover has also been declined in three different variations, each serving as the artwork for the three singles that will precede the full release.
Trust always brings enjoyable results. Thank you and good luck 3Vor Beatz!
You can listen the first single "21 (verde intorno)" here.
05.12-2024
↑ Alcune foto che ho scattato ad Ermanno nel suo studio presso Palmieri Contemporary, 28 Ottobre 2024. Il giorno stesso abbiamo fatto il bagno e ho fatto indigestione di focaccia.
Domani - Venerdì 6 Dicembre, inaugura la mostra del mio amico Ermanno Brosio insieme a Reto Pulfer presso Palmieri Contemporary, a Celle Ligure. La mostra è frutto del progetto di residenza ideato da Paolo Palmieri e Maria Antonietta Collu per gli spazi di Palmieri Contemporary, con la curatela di Antonio Grulli.
"La base di questo dialogo è l’utilizzo del tessuto come materiale fondante del loro lavoro e come metafora e membrana del nostro vivere nel mondo, ma il modo in cui poi ciascuno di loro lo declina non potrebbe essere più differente. Per Ermanno il punto di partenza è l’abito, in particolare i vestiti che recupera e riutilizza nelle sue opere; per Reto invece il tessuto è habitat e modo di abitare il mondo, spesso poi allontanandosene per sfociare nel disegno e nella ricerca sonora."
03.12-2024
Habitat e Magma pres:
– Enrico Malatesta (Percussion Solo)
– Glauco Salvo (Field Studies)
– Soniche '24 plays: Sound as time by Ingar Zach
14 Dicembre, dalle ore 17 a Cà de Monti – Tredozio (FC)
Evento su prenotazione. Invia una mail a riservaree@gmail.com
Evento in collaborazione con Magma, MU, Centro Musica di Modena ed Emilia Romagna Music Commission.
29.11-2024
What follows is my written contribution for The Creative Compass: Defragmenting Local Creative Cultures on a Global Perspective.
Published by Capslock, the book consists of 12 different interviews that aim at answering one main question: How does geography influence creativity?
Thanks Capslock team for inviting me and have a look on the website if you want to get the book!
1. Where do you draw inspiration from? Tell us about an unexpected and unusual source of your inspiration.
My main inspiration comes from mistakes. Those unexpected twists you can't predict. But inspiration also comes from just observing things, getting bored, and kind of rolling with it. I like to walk around, watch stuff, collect things, scanning and organize them. I collect images and always look for new ways to collect them. I even collect collections! My latest find is a collection of sugar sachets from bars and trattorias in Romagna. I know I'll use them for something one day—it's like storing inspiration for later, like fruit jams. Sometimes, a brilliant idea just hits you out of nowhere (often happening to me while I'm walking), but you can't always count on that. I often focus on the little details in a landscape or a scene. Like old signs, faded graphics, and how human-made things break down over time. A great example is those sun-cracked road signs.
2. Describe a turning point that defined your career path.
Some things don’t really fit into the word "career" (which sounds too much like just work stuff). I’d rather talk about what really shaped my way of seeing, interpreting, and reacting to the world, which influenced my path as an individual, an artist, a graphic designer, and even as a cultural agitator. Habitat was definitely my turning point, and it still guides most of what I do. Here, authorship fades, experimentation becomes flexible, and there are no clients. The process is both the journey and the goal, and it doesn't aim for a set result. That’s usually unexpected. Even the aesthetics derives from the tools, materials, and techniques involved in the making of an image. Basically, I realized that the way I create—with all the tools, people, and places involved—matters more to me than the final image itself.
3. Perfectionism vs. Pragmatism: when do you consider a piece of work complete?
I’d say it’s more about care than perfectionism. And if it’s perfectionism, it's the perfectionism of chaos. I like to create disorder and then find meaning and rules within it. I leave lots of room for improvisation and mistakes. In a project, you can use the rush (which is always there these days) to make bold choices without overthinking. I consider a piece done when it works even if you tilt your head 45 degrees, like almost all graphic designers do while working.
4. How do you envision the future of your work in light of the latest technology advancements? For instance, referring to AI and its implications for authenticity.
I rarely use it and only for boring things, like when I have to play the accounting guy for Habitat. As for graphic design, for me, it strictly exists as a process and as an application in the real world. It’s also a tool for interpreting and immersing myself in the contexts I live in and the people I share them with. I like getting my hands dirty. And making others get their hands dirty too. That’s why I don’t see much technological drift in my practice and daily life. Instead, I’ll keep embracing the open-source philosophy and prefer using devices that are often considered outdated, if not obsolete. I’m more worried about these technologies being used to collect, process, and distribute our data, and how they’ll increasingly mimic our languages for commercial purposes. Not to mention the environmental impact—linked to the immense amounts of water needed to cool the machines—which we can’t sustain. Like with everything, it requires judgment and the development of awareness (first individual, then collective) that goes hand in hand with implementing (if really needed) these technologies in our lives.
5. How did Italy influence your personal and professional journey?
Italy is definitely my main place of inspiration and action. Traveling from North to South and getting to know the people of so many regions, I’ve learned to appreciate its paradoxes and complexities. I believe these are what define its charm, richness, and cacophony, almost as intrinsic and self-generating conditions. I’ve been fascinated by its silent, green, sometimes untouched internal areas, and how each community has found its way to coexist and resist, adapting to the contextual conditions and limits. It’s in this kind of setting that Habitat was born as an experiment, developed as a long-term cultural action, and took root to become a home, cultural center, and permanent laboratory in the heart of the Tuscan Romagna Apennines (with a lowercase 't', as it’s an adjective). This is where we imagine, build, and project a shared idea of the future.
6. Do you feel like an integral part of this country’s artistic and creative ecosystem or more of an outsider? Why?
I don’t feel like an outsider but not entirely inside either. In a way, we’re defining our own ecosystem that communicates with many others. Every person is an ecosystem! There are people, places, shared approaches, and visions. This ecosystem that is Habitat, while having its epicenter, branches out and manifests through all the people who have passed through here, almost always returning and almost always taking something with them. There are fragments of Habitat spread everywhere.
7. Name two aspects of this country you would keep and two you would change.
The variety and the constellation of local microcosms.
And I would like to see radical changes in the longstanding political premises, along with the violent process of urban sprawl that devours our country and still doesn’t meet current social and housing needs.
8. How do you imagine the future of Italy? Do you see yourself as part of this future?
I definitely see myself as (a small) part of this future. In fact, it's a future I dream of sharing with Habitat, and in some ways, we’re already doing that. I hope this idea of the future can keep spreading and manifesting as it already is, starting from new cultural epicenters, developing new forms of centrality (not density), which are necessary for our times. The scenario, however, isn’t the most promising. Desertification on one hand, uncontrollable weather phenomena that are no longer extraordinary on the other—and they've recently changed the landscape around us—are just some of the complexities we have to address as individuals and communities. To make things even more complicated, we have a leadership and political class that can't respond to these challenges with immediacy and sincerity.
9. What do you do when alone at home and nobody watches?
I imagine, write, photograph, draw, take notes, walk, scan, print, collect. I also let my thoughts breathe when I’m lucky. I bought a bike but rarely use it. In the end, I always prefer walking because I hunt for images and can’t stop to look around when I'm on a bike. Then I pay bills, talk to the accountant. Pay the TARI late. Got another fine. Forgot to eat tonight. But I scanned all the sugar sachets.
10. What was the first thing you created on the Internet?
The first project I made specifically for the web was a small site developed during my master's in Experimental Publishing in Rotterdam (Piet Zwart Institute), and published in our self hosted server. Even though it was a simple exercise somewhere between programming and publishing, it helped me understand the potential of combining simple programming languages with publication design; discovering, for example, that a website can turn into a book with a few commands. (Check out the web2print world). Equally disruptive was the idea that our online presence is almost always mediated by platforms and applications with a hegemonic nature, defining and influencing our way of existing, online and offline. Here at Cà de Monti, together with Habitat’s Minister of Infrastructure (Federico Poni), we’ve set up our server, installed our Wiki, and host our micro-sites and gardens where we collect, archive, and publish, at our own pace (and when the line doesn’t drop), all the content generated and crafted in the Habitat context.
11. What is the best advice you have ever received?
Have fun!
12. Recommend a book, a film, and another artist that has made an impression on you.
It’s impossible for me not to mention *Global Tools*. I recently finished *Utopie Realizzabili* by Yona Friedman. Both readings can somehow contextualize Habitat too. I don’t have big idols; I’m more impressed by common people and unexpected encounters at the bar in Tredozio. I could mention Devis, our 15-year-old friend who’s been driving a tractor since he was 7, knows the position of every single tree in the woods around Tredozio, the migratory bird patterns passing through here, and somehow always knows what the weather will be like tomorrow.
28.11-2024
Hi everyone,
I’m gradually moving the things around and away from Instagram, in favor of a self-hosted, self-maintained (and ever-evolving) web space, currently running on Habitat’s server. Exactly where we are right now.
There are many reasons for this decision, some of which will probably resonate with many of you. I plan to share here some thoughts about these reasons and the importance of building and insisting on alternative kinds of virtual environments. Our online presence, as well as the way we communicate and interact with one another, should not rely solely on private, hegemonic platforms, as they are prone to standardization, capitalist dependencies, and, ultimately, the perpetuation of addictive behavior.
27.11-2024
A selection of spreads from "Atlante dei corpi terrestri", recently published by CTRL.
Design: Studio Temp
Executive editor: Nicola Feninno
You can find more information and purchase the book here.
21.11-2024
"Free time" is part of an ongoing personal research and process on resolution, hardware manipulation and analog treatments.
14.11-2024
Artdate 2024 – Bergamo, 14th Edition: Divorare.
A Project by The Blank Contemporary.
Art direction and graphic design: Studio Temp
As part of the campaign, I crafted seven different image compositions, starting with the edition theme: Divorare (to devour), which also relates in its broadest sense to obsolescence, environmentalism, consumerism and abundance.
The images are made by means of only a 1.3mp Sony Cybershot camera and a printer.
13.11-2024
Teaser for Lo schermo dell'arte 2024 – 17th edition by Benedetta Fioravanti
Music: Furtherset
Mix and master: Holy Similaun
Still + Titles by me
12.11-2024
Habitat is pleased to invite you to join us for the next winterish event: Fiesta en el vacío (Live) at Habitat.
SAVE THE DATE: 23th November 2024, from 4PM at Cà de Monti, Tredozio (FC)
Co-produced with Discount.dv
22.10-2024
↑ diary_0001.jpg
29.09-2024
07.09-2024
After Taste with Perila
Cà de Monti, Tredozio
9 Settembre 2024
↑ Picture: Rossana Varuolo
↑ Picture: Alexandra Zakharenko
11.09-2024
Cambiate, cambiate
Non possiamo più resistere (a lungo)
L’universo è ormai rovinato
T.P.U. Temporary Printing Unit
curated by Habitat, Jacopo Lega and Federico Poni for Parini Secondo and Collettivo Scena
Teatro Petrella, Longiano (FC), 2024
Habitat Archive
TPU-body can be download for free from Habitat's Tipoteca. Read the license and have fun!
