Francesco Felletti

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	<title>Francesco Felletti</title>
	<link>https://fellettifrancesco.com</link>
	<description>Francesco Felletti</description>
	<pubDate>Wed, 04 Jun 2025 20:13:48 +0000</pubDate>
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		<title>Information</title>
				
		<link>https://fellettifrancesco.com/Information-1</link>

		<pubDate>Fri, 28 Jan 2022 23:46:51 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

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		<description>About


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Photograph by Matthew Brown

	Multi-disciplinary artist.Born in Rome in 1997. Based in London, UK.


My practice is an attempt to uncover the narratives embedded
in the psychological, political, and poetic relationships between people and
the spaces they inhabit. I often employ archives, surveys and
psychogeographical maps to explore how people experience and move through these
spaces. Informed by socially engaged and site-specific approaches, my work is grounded
in contexts and care.


Under the collective name Wiggle Room, together with artist
Natasha Brown, I create playful, research-driven projects that explore the
contradictions of artistic labour. Our interventions are temporary, adaptive
works that engage with local stories and contexts to create public
interventions.In my practice, I often explore how artists socially and
historically shape/are shaped by the politics of spaces, working on projects
that investigate the recurring patterns that reinforce capitalist approaches to
renewing urban spaces. This frequently raises ethical questions within my
work. I acknowledge that I am both embedded in and involved with the
spaces and systems I engage with. Humour becomes a tool to navigate this
discomfort: it acts as a release valve for ethical tension, allowing me to
unblock and create space for critical distance and new forms of imagination.


Education:2020-2022 MA Fine Arts, &#38;nbsp;Central Saint Martins UAL
2016-2019BA Multimedia and Technological Arts, Accademia di Belle Arti di Roma


Residencies:2024- 2025
 
XYZ Grays Inn RoadHolborn, London
2024- 2025
PAUSE/FRAME - The Koppel ProjectParticipating as part of the Wiggle Room Duo with Natasha Brown, London.

Group exhibitions, screenings, and fairs:


2025XYZ Grays Inn RoadResidency Show, Holborn, London


Bllee! Ough! Trrrrrr! Huhmmm!BOTH Gallery, Archway, London


2024

This space has been closed for something like, I don’t know... 5 years, 7 yearsEnd of Residency Show, Wimbledon, London


XYZ Grays Inn RoadResidency Show, Holborn, London


NectarHypha Studios Stratford, London


International Art Book Fair: Offprint LondonTate Modern, London

 METAHORRORBOTH Gallery, London


2023Curation of ‘What We Thought We Knew’ with An-XKoppel Project Station, London
FIBREAIR Gallery, Altrincham

How to prevent an existential crisisGaleriE106, Chelsea College of Arts, London


 METAHORROR meets METAHUMOUR – part of VestibuleLethaby Gallery, London


2022
 The Dwelling of a Flower Picked Yesterday –&#38;nbsp;part of IRL Degree Show
Central Saint Martins, Postgrad Final Degree Show, London

 The Thin Metal is Going Through My Left Ear Hole
LUX Moving Image, London

 MERCH
Lethaby Gallery, London


2021
 Transference.tv
Central Saint Martins, Interim show (online)


Grants and Awards:
2022
 

Shortlisted for Helen Scott Lidgett Award, ACME Studios
2020
 

UAL EU Postgraduate Scholarship2018

Opera House of Rome Scholarship
2018
 

Second prize at ‘Fammi Vedere’ competition, Italian Council for Refugees
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		<title>Secret Confabulations on the Future of This Property</title>
				
		<link>https://fellettifrancesco.com/Secret-Confabulations-on-the-Future-of-This-Property</link>

		<pubDate>Wed, 04 Jun 2025 20:13:48 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

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Secret Confabulations on the Future of This Property (2025)

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Secret Confabulations on the Future of This
Property (2025). Table, chairs, tumblers, water jug, brochures,
vinyl banner on stand. Variable Size
Secret Confabulations on the Future of This Property is a performative artwork that culminates in a staged photograph and installation. It aims to sarcastically expose the hidden mechanisms of urban regeneration by inviting those who genuinely inhabit a space to decide its future in a meeting. The work is site-specific, exhibited in the very building the participants discuss about during the confab&#38;nbsp; (a space they have directly experienced, whether as studio residents or as a former retail worker) and which now also functions as the exhibition site.


Price: to
rent £150,000 per annum exclusive.


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	I’ve been a resident artist and guest at 5 Gray’s Inn Road
for about 1 year now. This space is currently a gallery and an artist’s studio
divided across two large open floors, the basement used as artist studios and
the ground floor used as an exhibition space. Before an art space, it used to
be an Argos for more than 30 years. A still-existing British retail chain that
has seen the years before Amazon, when people had to leave their houses to buy
its stuff. And has seen the years before the pandemic, when people couldn’t leave
their houses to buy its stuff.I’ve always been fascinated by these kinds of spaces in
London. Places like Hypha, Koppel, and now XYZ. Art charities or organisations
that use buildings temporarily, just before they become something else. You
live there for a while, suspended in between what the place was
and what it will be. Most of the time, as a resident of these spaces, you have
no idea what the space used to be, and even less idea what it’s going to
become. But you’re there, to make art. Because you’re an artist. “That’s the
most important thing”. The future of these places becomes this distant thing.
It’s not for you to know. It’s not your business. Those who decide what happens
next are far away, emotionally and physically, from the people who actually
spend time in these spaces.


While working at WM College as a tutor, by complete
coincidence, I met a student who had previously worked in the building, when
the space was an Argos. I took that as a divining signal that I needed&#38;nbsp;to do a project about 5 Gray’s Inn Road. She told me what it was like, working there.
She was mainly working on the ground floor, where now we have the exhibition
space. “The basement was for the young ones, the storage crew,” she said. When
I started to chat with her, she asked me, “Who owns it now? It must be
someone’s space, right? Do you know?”. I didn’t. Not until I found a brochure
online. The property was listed by a real estate agency, divided into three
leasing options. When I called the number, they told me the space had already
been rented, to a gym. No one had told us it was already gone? I asked the
student if she wanted to be part of a project related to the space.


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Starting from my student’s questions about the space where
she used to work, I began to think about the project at 5 Gray’s Inn Road. I wanted to see the people behind the big properties, the decision makers. I
wanted to see the secretive mechanisms behind “regeneration”. I imagined a
mysterious, conspiracy-like, conclave-like business meeting with all these landholders
all around a table, meeting to govern “the urban
change”. In response, I decided to stage a fictional business meeting of
my own. But instead of actual landholders, I cast those who had actually
inhabited the space: myself, my student and ex-Argos
worker, and two artist friends from the residency. For once, we get to be the decision makers. Not someone in a
brochure. Just us, before the space becomes something else.This performance became a photograph
then part of an installation where I recreated a corporate set up with a table,
chairs, and printed versions of the brochure (the real one I found online) advertising the letting of the very building where the work was exhibited. The
fantastic fabrication of this meeting was an attempt to blur the line between
fiction and documentation, between critique and participation. It’s a staged
photograph, but everything in it is also real.


Thanks to everyone who took part in
the project, for the great conversations and laughs.


Partecipats of the project:

Yael


Natasha Brown
Nina Gonzalez-Park


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		<title>Machine for ocular voyages (Prototype I)</title>
				
		<link>https://fellettifrancesco.com/Machine-for-ocular-voyages-Prototype-I</link>

		<pubDate>Wed, 26 Feb 2025 09:53:36 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

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    Machine for ocular voyages (Prototype I) (2025)

 
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Machine for Ocular Voyage (Prototype I), 2025. Monitor screen, 2 projectors, wood, cardboard, metal wire, white silicone, soft foam, and other materials. Base: Wood board, table skirt in velvet; 1.20m x 90cm


&#38;nbsp;

	
Can we experience objects and places, becoming one with what surrounds us?


Machine for Ocular Voyages (Prototype I) is the first prototype of a machine for spatial voyages, a marvel of optical ingenuity designed for adventurous spirits and curious minds.


This device serves a singular purpose: a conduit for altered perception. A fleeting escape from the ordinary, a journey through walls, ceilings, and floors. A hybrid between a living furniture and a kinetoscope, the machine stands on four articulated legs, inviting you to momentarily lose your sense of self and reconsider your relationship with the space around you.


Expanding on the themes explored in E se sparissi e diventassi tutto?, this work transforms the act of seeing into a journey beyond the self, one that does not require leaving the room.
How it works:
Gently touch the machine to wake it up.

Lean in, aligning your eyes with the designated openings.

Wait a few moments… and let yourself be transported.

The line between the internal and the external blurs. The shift in perspective may cause slight dizziness or disorientation.


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		<title>My stairs sound like a cello</title>
				
		<link>https://fellettifrancesco.com/My-stairs-sound-like-a-cello</link>

		<pubDate>Mon, 24 Feb 2025 23:10:46 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

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    My stairs sound like a cello (2025)
&#38;nbsp;

	
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My Stairs Sound Like a Cello, 2025 Sound installation,
10 min&#38;nbsp; 50 sec.
	
My Stairs Sound Like a Cello is a 10-minute and 50-second sound installation I presented at BOTH Gallery in 2025. It features recordings I made in 2020 in my very first home in London while testing a binaural microphone, where I focused on capturing the sounds of the environment and everyday objects around the house.

During one of these recordings, in one of the rooms of the house near the entrance stairs, I unexpectedly captured the sound of a cello played by my neighbors, along with their voices. The sound utterly captivated me, quickly becoming my intimate, secret discovery. I just couldn’t stop recording it, I wanted more, even though I knew it was wrong to eavesdrop on my neighbors like a peeping tom.The sound of the cello, with its hesitations and repetitions, and my neighbors’ comments, had the magical and sensational quality of a secret message tucked inside a floorboard. I found wonder and surprise just around a corner of my house.

This serendipitous moment, discovered while I was recording under the stairs, has been recreated in the gallery, inviting the audience to experience the same unexpected encounter I had in a similar setting (on the stairs).&#60;img width="2736" height="3648" width_o="2736" height_o="3648" data-src="https://freight.cargo.site/t/original/i/af3fa9ffc528652651fce4217071b381241474078802fdbd8008041af273ab7e/IMG_20201210_174642.jpg" data-mid="227401504" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/af3fa9ffc528652651fce4217071b381241474078802fdbd8008041af273ab7e/IMG_20201210_174642.jpg" /&#62;
Original location of the recording


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		<title>This space has been closed for something like, I don’t know… 5 years, 7 years  </title>
				
		<link>https://fellettifrancesco.com/This-space-has-been-closed-for-something-like-I-don-t-know-5-years-7</link>

		<pubDate>Sun, 22 Dec 2024 17:44:09 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

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    This space has been closed for something like, I don’t know… 5 years, 7 years (2024)

 
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This space has been closed for something like, I don’t know… 5 years, 7 years, 2024. Banner 4x2m


&#38;nbsp;

	
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194 The Broadway is a site that talks about potential. It has been closed for something like 5 years, 7 years. It has been a tailor’s, a corner shop and now a gallery and artist residency space - plans to develop it into an office block sit on the horizon. Being asleep for all these years, a lot has been said about its future transformation. Like a suspended construction site, it awaits becoming something else.
“As artists in residence at this site, we are interested in how this language of waiting could become visible. How does a place speak of itself? And how do we, as artists, as neighbors, listen?” 

Questioning the role of artists in urban regeneration, Natasha Brown and I (Wiggle Room) used our residency at PAUSE/FRAME to challenge our own presence in the space, positioning ourselves as a form of disturbance. We have reimagined the venue into a behind-the-scenes preparation room for an upcoming show. Through selected low-quality and theatrical props, the site is unveiled, revealing its history of ownership and potential futures.
	
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Pulley mechanism, rope, clamp, vinyl print.

 
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Wooden structure, wheels, wheatpasted advertisement prints
	
        
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Art is good – that is what they say if you ask up the street at the Antoinette Hotel, at the Wimbledon leisure center, next door at the YMCA. Art is good for the community. So, who is this community? Is it defined by the council? By the Koppel project? Is it the attendees of a private view? Is it Natasha and Francesco, the artists themselves, who do not live in Wimbledon?
To read more about our residency: https://thekoppelproject.com/events/wiggle-room-at-pause-frame


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		<title>A Building that Throws up (The recital of the four Woozies)</title>
				
		<link>https://fellettifrancesco.com/A-Building-that-Throws-up-The-recital-of-the-four-Woozies</link>

		<pubDate>Thu, 27 Jun 2024 14:42:29 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

		<guid isPermaLink="true">https://fellettifrancesco.com/A-Building-that-Throws-up-The-recital-of-the-four-Woozies</guid>

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    A Building That Throws Up,
(The recital of the four Woozies) (2024)
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A building that throws up (The recital of the four Woozies), 2024. Mixed fabrics, pulley system, rope; 11,5m x 1,5m
The incredible Natasha Brown and I present to you a series of backdrops for the recital of the four Woozies: “A Building That Throws Up,” a play about places that depart, disappear, or flee.

With this project, we sought to elaborate on the mixed feelings associated with our friends leaving London and the constant emotional and economic precarity of staying in this city. London is an ever-changing chessboard, where people and places are constantly shifting in and out, up and down. Too often, the city engages in an unsustainable dance where fancy skyscrapers chase council houses, and where stories and people disappear in sterile zones.

	
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Double sided A4 Flyer.
We imagined flipping the narrative, considering how places would feel about these radical displacements. Would they feel motion-sick? How would they feel about the mould in their houses? How would they feel about an imposed new commercial identity? Would they feel woozy?Inspired by the boroughs of London where we lived and Italo Calvino’s “Invisible Cities,"&#38;nbsp; we wrote whimsical stories about these places leaving because they were thirsty, overwhelmed, sick, ashamed, and lost (stories below). We designed four backdrops to represent each area, hanging them on a pulley system that visitors can move to make space for a recital.

 
Notes on “The Artwork that Left Stratford”:


On Sunday, June 16, 2024, we decided to alter our artwork from the exhibition “Nectar” at 50 Celebration Street in Stratford, hosted by Hypha Studios. Hypha is an art charity in London that “acts as a mediator between landowners and artists matching creatives with empty spaces &#38;amp; regenerating the high street with cultural hubs &#38;amp; events for local communities.”1


After the opening, we discovered the exhibition space had partnered with Get Living London, a major rental management company involved in East London’s regeneration. This revelation made us rethink our project’s context within Stratford and Newham’s history of regeneration. We began to feel that our work, initially intended to reflect on these processes, was inadvertently contributing to the area's gentrification through art-washing practices. We became concerned that Get Living was leveraging artists to enhance the area's appeal.Feeling the sweaty awkwardness of having made a big mistake, we began researching the area’s history and context. Natasha and I had extensive discussions about the role of artists in regeneration and gentrification. As non-residents of East London, we recognised we were not positioned to speak on behalf of the local community, but we still wanted to respond to this situation. Ultimately, we decided to remove our 4 panels from the show, leaving just the pulley system and a poster attached to a wall. On this poster, in the same language as our original work, we wrote a new story about the artwork itself leaving Stratford after discovering the partnership with the rental management company.
1 Hypha Studios.https://hyphastudios.com/ (Accessed: 29 June 2024). 


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The Artwork that Left Stratford, 2024. Pulley system, rope, A4 Flyer; 11,5m x 1,5m


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The Green A4 that was Evicted, 2024. A4 Flyer
	Notes on “The Green A4 that was Evicted”:


We made the decision to alter the artwork, without informing the other artists or curators, fully aware it might cause tension. We believed in asking for forgiveness, not permission. Our intentions were driven by a desire to confront the ethical implications of our work within the broader context of the exhibition space. 


Immediately after we attached the poster, we informed the collective and proposed an informal panel discussion. The group chose not to engage with us directly. Some artists were worried that if the CEO of Hypha read the poem about the artwork leaving Stratford, it could negatively impact future opportunities for the collective to work with Hypha. They requested that we remove the work quietly and not post about it on social media.


The main objections raised by the group were:


How everything was happening because we agreed to participate in the show without researching Hypha’s partnerships first, “which is quite unprofessional”.
The work was altered without communicating with the rest of the group beforehand and getting their agreement before taking action.


This experience left us demoralised, with many unanswered questions. It highlighted the difficulties of dealing with ethical problems that can come up in artistic collaborations. It revealed the rigid dynamics of an emerging art scene, where artists sometimes claim the need to be "professional" as an excuse to adopt business-like practices. In this environment, consent can paradoxically lead to censorship, rather than encouraging critical self-reflection among the artists.


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		<title>Wiggle Room</title>
				
		<link>https://fellettifrancesco.com/Wiggle-Room-1</link>

		<pubDate>Mon, 04 Mar 2024 18:56:42 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

		<guid isPermaLink="true">https://fellettifrancesco.com/Wiggle-Room-1</guid>

		<description>
	
	
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    Wiggle Room (2024)
    
        
            &#60;img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/a028af6ceb6650ab3353776d4d73e6e8756149ae1097af3f6d722b96b40c5143/IMG_1450_trasparent-Large.png" data-mid="206007997" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/a028af6ceb6650ab3353776d4d73e6e8756149ae1097af3f6d722b96b40c5143/IMG_1450_trasparent-Large.png" /&#62;
        
    
&#38;nbsp;Untitled (Wiggle Room), 2023. Clay Mold; 15x12 cm.

 
This project started with a series of conversations between me and Natasha Brown. Drawing from our own feelings and  dialogues on the housing crisis, the project delved into the frustration of “not having enough space”.

With the rise of the living cost, people struggle to find space,
sweating every square meter and narrowing the vision of space to a sad equation: money = space. With this project, we wanted to propose wiggle room. There is wiggle room everywhere, but paradoxically also nowhere at all. It is in a pub’s toilet, in a corner of that
street, and just under a tree in that park. We propose that wiggle room is also a discovery: “Look out there! What’s that?”. It is deep-rooted as if it has always belonged there, but it can also be new and ephemeral.

Wiggle Room is a project that wanted to sit within the
surroundings, generating actions and interventions that are in and out of context and temporary.
Starting from an investigation into the history and functioning of the area of Ealing and its inhabitants, it created alternative
moments hidden within the mundane.

				
	&#60;img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/80b93344766fc96756932dcf473f914743789a38d3f7001ca5f1649dc3cfcadd/IMG_1457-Large.jpeg" data-mid="206074354" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/80b93344766fc96756932dcf473f914743789a38d3f7001ca5f1649dc3cfcadd/IMG_1457-Large.jpeg" /&#62;

Untitled (The yellow doughnut), 2024. Embossed Fimo and Plastic Tie Zip; 10x10 cm.


	&#60;img width="853" height="1280" width_o="853" height_o="1280" data-src="https://freight.cargo.site/t/original/i/0b69a5fd01de849ae9b75cb051889bdb5e04b429aefff980d109cc01c7b6ff36/IMG_1445-Large.jpeg" data-mid="206009330" border="0"  src="https://freight.cargo.site/w/853/i/0b69a5fd01de849ae9b75cb051889bdb5e04b429aefff980d109cc01c7b6ff36/IMG_1445-Large.jpeg" /&#62;

Untitled (The tree piece), 2024. Clay Mold; 25x10 cm.


&#60;img width="853" height="1280" width_o="853" height_o="1280" data-src="https://freight.cargo.site/t/original/i/cb690917e950cd2c5c92effb70967b34bdd74e7f7d89916732ad9783bf36cfd8/IMG_1466-Large.jpeg" data-mid="206074274" border="0"  src="https://freight.cargo.site/w/853/i/cb690917e950cd2c5c92effb70967b34bdd74e7f7d89916732ad9783bf36cfd8/IMG_1466-Large.jpeg" /&#62;

Untitled (The electricity box piece), 2024. Wood, Canvas Fabric, and Magnets; 126x2x5 cm&#38;nbsp;


&#60;img width="853" height="1280" width_o="853" height_o="1280" data-src="https://freight.cargo.site/t/original/i/79c948d16e89521a6b785cf7efb03a22cdc81a45ee78943b55a6206b9ccc33b4/IMG_1529-Large.jpeg" data-mid="206074382" border="0"  src="https://freight.cargo.site/w/853/i/79c948d16e89521a6b785cf7efb03a22cdc81a45ee78943b55a6206b9ccc33b4/IMG_1529-Large.jpeg" /&#62;
&#60;img width="853" height="1280" width_o="853" height_o="1280" data-src="https://freight.cargo.site/t/original/i/e19ebadc549888faf32ff4636c1bb65e0becda8f3eccdc5f93307a20444d9f89/IMG_1528-Large.jpeg" data-mid="206074381" border="0"  src="https://freight.cargo.site/w/853/i/e19ebadc549888faf32ff4636c1bb65e0becda8f3eccdc5f93307a20444d9f89/IMG_1528-Large.jpeg" /&#62;
Untitled (The yellow stick), 2024. Estate Agent Board Stick; 180x4x4 cm


        &#60;img width="575" height="578" width_o="575" height_o="578" data-src="https://freight.cargo.site/t/original/i/3e96212df31c1deff7b708fcd3a58f0f691c223b2c57e0415b2df31783882795/IMG_1460_trasparent-copy.png" data-mid="206153981" border="0" data-scale="73" src="https://freight.cargo.site/w/575/i/3e96212df31c1deff7b708fcd3a58f0f691c223b2c57e0415b2df31783882795/IMG_1460_trasparent-copy.png" /&#62;

The project was divided into two main steps: the research and the outcome.


	Research:
The research phase, delved into the historical, cultural, and social significance of the council of Ealing highlighting stories and landmarks. We sought to gain a deeper understanding of the intrinsic value and the messages the places of the council convey.
We mainly used strolls, theoretical studies, interviews, and psychogeographical maps as methods of investigation to select the spaces of focus.&#38;nbsp;

    
	Stroll:


&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/865b65c815f5ee8ea7932d3c53f11223b58576ae0090338a9a1a35a4d8027922/DSCN1709.JPG" data-mid="206082367" border="0"  src="https://freight.cargo.site/w/1000/i/865b65c815f5ee8ea7932d3c53f11223b58576ae0090338a9a1a35a4d8027922/DSCN1709.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/1e93843325d842780bf5f974a6a11a9f4ad1fe44c049631d77f3ff3deee599b4/DSCN1663.JPG" data-mid="206082363" border="0"  src="https://freight.cargo.site/w/1000/i/1e93843325d842780bf5f974a6a11a9f4ad1fe44c049631d77f3ff3deee599b4/DSCN1663.JPG" /&#62;
&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/11ab4cea8aef79f12a93d3b12df744e6cf416e34350ccc9f4a89e48de22c0b34/DSCN1673.JPG" data-mid="206081322" border="0"  src="https://freight.cargo.site/w/1000/i/11ab4cea8aef79f12a93d3b12df744e6cf416e34350ccc9f4a89e48de22c0b34/DSCN1673.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/d57f190ddcfcec6ad859377d714b8dafe2c25f4b9049b8c21d3be66a58372e19/DSCN1393.JPG" data-mid="206081444" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/d57f190ddcfcec6ad859377d714b8dafe2c25f4b9049b8c21d3be66a58372e19/DSCN1393.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/ceff5ad0d9ae4420339c103602e8d9a15ed4c1623cb6adeb4590b811dc2508fc/DSCN1395.JPG" data-mid="206081446" border="0"  src="https://freight.cargo.site/w/1000/i/ceff5ad0d9ae4420339c103602e8d9a15ed4c1623cb6adeb4590b811dc2508fc/DSCN1395.JPG" /&#62;
&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/68a502d7f388d7dd5db1cd8d149bc3eb9671cdf6398e070cb206d390683e54f0/DSCN1401.JPG" data-mid="206081447" border="0"  src="https://freight.cargo.site/w/1000/i/68a502d7f388d7dd5db1cd8d149bc3eb9671cdf6398e070cb206d390683e54f0/DSCN1401.JPG" /&#62;
&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/047b94f41c8bafc4d2e97535d069b45c8b1850a3893a303a1c01b5e86d85672a/DSCN1406.JPG" data-mid="206081448" border="0"  src="https://freight.cargo.site/w/1000/i/047b94f41c8bafc4d2e97535d069b45c8b1850a3893a303a1c01b5e86d85672a/DSCN1406.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/3ee0e231070b55efd4530117c244b35cbe10544bf2ea56f9153e17cc30274b20/DSCN1407.JPG" data-mid="206081449" border="0"  src="https://freight.cargo.site/w/1000/i/3ee0e231070b55efd4530117c244b35cbe10544bf2ea56f9153e17cc30274b20/DSCN1407.JPG" /&#62;
&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/13b0077a872536d8e6b5954f63ab8a567e48b54fd43d7f5fbc27eb05b3d8bb44/DSCN1421.JPG" data-mid="206081451" border="0"  src="https://freight.cargo.site/w/1000/i/13b0077a872536d8e6b5954f63ab8a567e48b54fd43d7f5fbc27eb05b3d8bb44/DSCN1421.JPG" /&#62;
&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/62393cecf8279ce79212d5f1d97271ff91d6c8de7827048a1e6c0dda15c7b80d/DSCN1422.JPG" data-mid="206081452" border="0"  src="https://freight.cargo.site/w/1000/i/62393cecf8279ce79212d5f1d97271ff91d6c8de7827048a1e6c0dda15c7b80d/DSCN1422.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/24d8bc723df3fbb51bb07e39ebdab844b3d350603b2b4e3753a0cd987693d534/DSCN1687.JPG" data-mid="206081518" border="0"  src="https://freight.cargo.site/w/1000/i/24d8bc723df3fbb51bb07e39ebdab844b3d350603b2b4e3753a0cd987693d534/DSCN1687.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/b3d544875800fcad4ce761540383bda92d422d435ea93f42891a1b1514b9c90e/DSCN1689.JPG" data-mid="206081519" border="0"  src="https://freight.cargo.site/w/1000/i/b3d544875800fcad4ce761540383bda92d422d435ea93f42891a1b1514b9c90e/DSCN1689.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/9d76a3fdc7bb49adeac8d3d7c853582a0d729ddb7f1f7b4e1f7d4f65b8a2c01a/DSCN1697.JPG" data-mid="206081520" border="0"  src="https://freight.cargo.site/w/1000/i/9d76a3fdc7bb49adeac8d3d7c853582a0d729ddb7f1f7b4e1f7d4f65b8a2c01a/DSCN1697.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/b2e4c0aa2f67b4987cd8b65094c852f0144bc3f64ee9594f04f707e1fe9f050c/DSCN1699.JPG" data-mid="206081522" border="0"  src="https://freight.cargo.site/w/1000/i/b2e4c0aa2f67b4987cd8b65094c852f0144bc3f64ee9594f04f707e1fe9f050c/DSCN1699.JPG" /&#62;
&#60;img width="2448" height="3264" width_o="2448" height_o="3264" data-src="https://freight.cargo.site/t/original/i/b5df0c88a6e4568e8aecb0849a14bd921b6958911dfd5ec9afc85c99456c7c60/DSCN1706.JPG" data-mid="206081528" border="0"  src="https://freight.cargo.site/w/1000/i/b5df0c88a6e4568e8aecb0849a14bd921b6958911dfd5ec9afc85c99456c7c60/DSCN1706.JPG" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/37c806c034c473ecdbeaf5a1d4e22a0d4f100c52b8d5a51ada575dfa46c44feb/DSCN1713.JPG" data-mid="206081537" border="0"  src="https://freight.cargo.site/w/1000/i/37c806c034c473ecdbeaf5a1d4e22a0d4f100c52b8d5a51ada575dfa46c44feb/DSCN1713.JPG" /&#62;
Re-elaborating the Situationists’ experimental walks, the strolls produced a series of unexpected journeys around the borough, with the aim of getting a sense of the area and its functions. They included: following the route of a stranger, of a feeling or randomly choosing a new path. These strolls were documented through pictures, videos and audio recordings. The locations found served us later as research starting points and the areas of our intervention.
            
        
	Interviews:


&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/c8dd0e5f386c579230a5f2a38419465a71b4d3559bbeaa962e438181505e2b8c/DSCN1676_edited-face-Large.jpeg" data-mid="206159616" border="0"  src="https://freight.cargo.site/w/1000/i/c8dd0e5f386c579230a5f2a38419465a71b4d3559bbeaa962e438181505e2b8c/DSCN1676_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/a5cc0c1813b95252f030e1ffa3442089eb05c68dd316104dee36d6bca70b9a7b/DSCN1678_edited-face-Large.jpeg" data-mid="206159617" border="0"  src="https://freight.cargo.site/w/1000/i/a5cc0c1813b95252f030e1ffa3442089eb05c68dd316104dee36d6bca70b9a7b/DSCN1678_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/b36790dc0c8daf8cf364b11de9b92977be807aa9155d5db40565084c27bc2ec9/DSCN1679_edited-face-Large.jpeg" data-mid="206159618" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/b36790dc0c8daf8cf364b11de9b92977be807aa9155d5db40565084c27bc2ec9/DSCN1679_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/5dbea5a2171142369f6574b0868fe8c50d23e6551590b7eb7b750f7ecb9aa5b2/DSCN1683_face-edited-Large.jpeg" data-mid="206159619" border="0"  src="https://freight.cargo.site/w/1000/i/5dbea5a2171142369f6574b0868fe8c50d23e6551590b7eb7b750f7ecb9aa5b2/DSCN1683_face-edited-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/d54983940d7d1097570e3c166cb7d83b5b6704ed5e7713dd1150eb426d3c7cd4/DSCN1686_edited-face-Large.jpeg" data-mid="206159620" border="0"  src="https://freight.cargo.site/w/1000/i/d54983940d7d1097570e3c166cb7d83b5b6704ed5e7713dd1150eb426d3c7cd4/DSCN1686_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/aedc720a4b87bb7b693fafaa3f4ee177d5fd3e2b915f450c5919262aa4f82030/DSCN1695_edited-face-Large.jpeg" data-mid="206159622" border="0"  src="https://freight.cargo.site/w/1000/i/aedc720a4b87bb7b693fafaa3f4ee177d5fd3e2b915f450c5919262aa4f82030/DSCN1695_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/b108344342aaba32b189e7f1dba867412d71bf7cda4061d193b6a1094bf4dfdf/DSCN1701_edited-face-Large.jpeg" data-mid="206159623" border="0"  src="https://freight.cargo.site/w/1000/i/b108344342aaba32b189e7f1dba867412d71bf7cda4061d193b6a1094bf4dfdf/DSCN1701_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/2213433d6f88697193a3cd72dd38a117fb8a11c87381a81a03740b40139f3090/DSCN1714_edited-face-Large.jpeg" data-mid="206159625" border="0"  src="https://freight.cargo.site/w/1000/i/2213433d6f88697193a3cd72dd38a117fb8a11c87381a81a03740b40139f3090/DSCN1714_edited-face-Large.jpeg" /&#62;
&#60;img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/018e75adc94c441d999b688aa756877fba4c69d056bfa9f8b68522558c133742/DSCN1700-Large.jpeg" data-mid="206159731" border="0"  src="https://freight.cargo.site/w/1000/i/018e75adc94c441d999b688aa756877fba4c69d056bfa9f8b68522558c133742/DSCN1700-Large.jpeg" /&#62;
The in-depth, semi-structured interviews were a key part of the project. They are encounters with the communities of Ealing, to dig into the unwritten history of the council but also to better understand the functioning of the places. We interviewed mostly passersby and whoever felt a connection with the council. The questions were part of informal conversations, recorded using a microphone or camera.


The Problem Solvers:

	
&#60;img width="854" height="1280" width_o="854" height_o="1280" data-src="https://freight.cargo.site/t/original/i/8c8b22d30cf3764f96b74bfa0bccfb992c4bae14d2613e502a7413e2fc89774d/1503-Large.jpeg" data-mid="206009190" border="0" data-scale="55" src="https://freight.cargo.site/w/854/i/8c8b22d30cf3764f96b74bfa0bccfb992c4bae14d2613e502a7413e2fc89774d/1503-Large.jpeg" /&#62;
&#60;img width="854" height="1280" width_o="854" height_o="1280" data-src="https://freight.cargo.site/t/original/i/e331ffaaab60dd05b5165c0ba6370a732457713931872924657fb92b6395a07d/1505-Large.jpeg" data-mid="206009191" border="0"  src="https://freight.cargo.site/w/854/i/e331ffaaab60dd05b5165c0ba6370a732457713931872924657fb92b6395a07d/1505-Large.jpeg" /&#62;
&#60;img width="854" height="1280" width_o="854" height_o="1280" data-src="https://freight.cargo.site/t/original/i/40cd77830183fd81591afbc9e08ecbb194e6cabc78200af124f830ed38955278/1507-Large.jpeg" data-mid="206009193" border="0"  src="https://freight.cargo.site/w/854/i/40cd77830183fd81591afbc9e08ecbb194e6cabc78200af124f830ed38955278/1507-Large.jpeg" /&#62;
&#60;img width="854" height="1280" width_o="854" height_o="1280" data-src="https://freight.cargo.site/t/original/i/e84ca5bc5574e75662508f599ad3e1aec31aff4e8d15d36eb47ec8ed83ad4ba7/1508-Large.jpeg" data-mid="206009194" border="0"  src="https://freight.cargo.site/w/854/i/e84ca5bc5574e75662508f599ad3e1aec31aff4e8d15d36eb47ec8ed83ad4ba7/1508-Large.jpeg" /&#62;
&#60;img width="854" height="1280" width_o="854" height_o="1280" data-src="https://freight.cargo.site/t/original/i/c396a88c3cd9df324e6127f5f679f1892bda9f765081a2ff1ea0efd0ee988cff/1509-Large.jpeg" data-mid="206009195" border="0"  src="https://freight.cargo.site/w/854/i/c396a88c3cd9df324e6127f5f679f1892bda9f765081a2ff1ea0efd0ee988cff/1509-Large.jpeg" /&#62;

	
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&#60;img width="854" height="1280" width_o="854" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7b984a03b7615f5c9382f908a11a197a5eef7554039301571f87161984a128b2/1491-Large.jpeg" data-mid="206008145" border="0"  src="https://freight.cargo.site/w/854/i/7b984a03b7615f5c9382f908a11a197a5eef7554039301571f87161984a128b2/1491-Large.jpeg" /&#62;
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All the engagement with the community were seen through a humorous and playful approach, as we
(the artists) acted as “problem-solvers” to demystify the role of the artist as a person responsible to solve community issues.


&#38;nbsp;The Outcome:
After selecting three places to focus on, we designed three interventions that could somehow respond to the stories and studies conducted in the field.These interventions manifested as “public plaques”, using texts, shapes and materials to dialogue with the surroundings and the theme of the housing crisis. Drawing inspiration from theorist Lauren Berlant's concept of "cruel optimism," we tried to reimagine and reshape the desires of the interviewees. With these plaques, we tried to create and challenge how those desires look to be realistic and
possible.


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Pictures by Stefano Mastromarino
 Exhibitions:
	
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Exhibition View:&#38;nbsp;XYZ Grays Inn Road.&#38;nbsp;Residency Show, London 2024</description>
		
	</item>
		
		
	<item>
		<title>Everywhere, Everywhere, Everywhere </title>
				
		<link>https://fellettifrancesco.com/Everywhere-Everywhere-Everywhere</link>

		<pubDate>Thu, 16 Mar 2023 13:19:30 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

		<guid isPermaLink="true">https://fellettifrancesco.com/Everywhere-Everywhere-Everywhere</guid>

		<description>Everywhere, Everywhere, Everywhere (2023) 


Everywhere, Everywhere, Everywhere, 2023. Hoover's mix of dust debris, LED screen; Dimensions of the piles are variable, videos: 1920x1080px, duration: 1h 15'.


'Everywhere, Everywhere, Everywhere' is the result of 3 encounters that took place in the homes of some strangers I met through my neighbourhood Facebook group. These people allowed me to vacuum the floors and collect dust and dirt from their hoovers. This seemingly mundane act of cleaning gave me privileged access to their intimate space: their objects, past and values – where even everyday waste bears witness to the presence of people's experience of places. 

	
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The project features a pile of dust and debris that sits in a corner, covering and revealing a screen displaying the documentation of the cleaning process and my conversations with the tenants. The dusty and grimy pile not only serves as evidence of the encounters but also establishes a site-specific connection with the exhibiting space. Its presence attempts to remind us of the fragility and instability of places, with dust and debris functioning as physical manifestations of the passage of time and the ever-changing nature of our surroundings.

To me, this mixture of materials is a concrete testimony to the transformative power of places, emphasising that nothing is ever truly stable or permanent. The illusion of stability1 in our homes or favourite places is just that—an illusion. ‘Everywhere, Everywhere, Everywhere’ seeks to challenge our relationship with the spaces we inhabit and to embrace the inevitable changes that come with the passage of time.
With the materials I collected from the hoovers I created a second project: Illusions of Stability.


1. Bachelard, G. (2014). The poetics of space. Trans. M. Jolas. Penguin Group, New York.
	
	
 Videos of the 3 encounters from Everywhere, Everywhere, Everywhere, 2023.</description>
		
	</item>
		
		
	<item>
		<title>E se sparissi e diventassi tutto?</title>
				
		<link>https://fellettifrancesco.com/E-se-sparissi-e-diventassi-tutto</link>

		<pubDate>Fri, 20 Jan 2023 12:36:01 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

		<guid isPermaLink="true">https://fellettifrancesco.com/E-se-sparissi-e-diventassi-tutto</guid>

		<description>E se sparissi e diventassi tutto? (2023)

 
‘E se sparissi e diventassi tutto?’ is an 8-minute experimental short film that explores the bridge between the individual and their bedroom. Taking inspiration from “Voyage around my room” by Xavier de Maistre, the film takes viewers on an audio-visual journey, exploring personal objects and traces of experiences. The camera follows two pairs of eyes as they fly around a bedroom, digging into the unconscious and obsessive aspects of both the inner self and physical manifastiation of the self in the bedroom. It starts with a hypothesis: the idea of disappearing and becoming one with the surroundings encourages questioning the meaning of the self, and the connection between the self and the world of our intimate places.


E se sparissi e diventassi tutto? (What if I disappear and become everything?), 2023. 640x480px. Video length: 8’ 00’’“Words cannot describe the satisfaction I feel in my heart when I think of the infinite number of unhappy souls for whom I am providing a sure antidote to boredom and a palliative to their ills. For the pleasure of traveling around one’s room is beyond the reach of man’s restless jealousy: it depends not on one’s material circumstance.
Indeed, is there anyone so wretched, so forlorn as not to have some sort of garret in which to withdraw and hide from the world? For such is all that is required for travel.
I am certain that all sensible men will adopt my system, regardless of disposition or temperament. Whether they be miserly or prodigal, rich or poor, young or old, born in the torrid zone or near the pole, they can travel as I do. Indeed, in the vast family of men teeming on the surface of the earth, there is not one, no, not a single one (among those living in rooms, that is) who, upon reading this book, could possibly refuse to approve the new manner of travel that I am introducing to the world.”

Maistre, X.de et al. (2016) Voyage around my room: Selected works of xavier de maistre. New York: New Directions Books.

	
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Preliminary study of the room (11th January 2023)</description>
		
	</item>
		
		
	<item>
		<title>Fragile Place</title>
				
		<link>https://fellettifrancesco.com/Fragile-Place</link>

		<pubDate>Wed, 06 Jul 2022 17:43:47 +0000</pubDate>

		<dc:creator>Francesco Felletti</dc:creator>

		<guid isPermaLink="true">https://fellettifrancesco.com/Fragile-Place</guid>

		<description>Fragile Place (2022)


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Fragile Place, 2022. Sculpture in cement 65x80x100cm, circular system with curtains ø250xH270cm, rotating light.A space made
of dark curtains creates a mobile threshold that can be crossed, generating an
in-between space that intertwines the concept of inside and outside. Enclosed
in these walls, a perforated sculpture projects window-shaped lights over the
curtains, revealing life within its heavy materiality of concrete. These lights
resonate repeatedly from afar, throwing a spotlight on the ongoing question of
humanity’s relationship with their surroundings. Places that we have always
considered stable entities are now fragile, exposed to the continuous changes
and instability of the world. Exploring the bond between humans and places, the
ever-dynamic entity concentrates our being into a shape that can be habitable,
embodying the intrinsic coexistence of the act of dwelling and that of living.

1. Heidegger, M. (2001). ‘Building Dwelling Thinking’, in Poetry, language, thought. Trans. A. Hofstadter. Harper &#38;amp; Row, New York.2. Bauman, Z. (2018). ‘Liquid modernity’. Cambridge: Polity Press.

	
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Installation View from ‘The Dwelling of a Flower Picked Yesterday’ (part of ‘IRL’ Postgrad Final Degree Show).


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Fragile Place, 2022. Cement, rotating light. 65x80x100cm.


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