Charles Darwin and Steve lrwin Owned the Same Tortoise   In 1835, Charles Darwin left the Galápagos Islands on board the Beagle, taking some giant tortoises with him. One of them, named Harriet, was born around 1830 on the island of Santa Cruz – which, curiously enough, Darwin never visited.Harriet

In a future still to be written and already corroded, Alessandro Di Pietro constructs a visual language that acts as a grammar of the world: a system where objects, signs, and characters intertwine to shape unstable and fragmented narrative universes. For the exhibition Long Story Short, Di Pietro presents a new installation that continues his extended research on fictional universes as sculptural methodologies. A choreographer of narrative, he layers linguistic ruins, retro-futuristic residues, and pseudo-technical signage in works that function as non-objective technologies—devices meant more to evoke than to display. The works are a kind of process initiated during his residency at Gasworks, London, and represent a continuity that interfaces with the parallel exhibition at the Zazà space. The work presented at Flip, TOMTOM (YellowWhite) T (dry), is a previously unseen triptych composed of painted, printed, and layered surfaces that evoke the aesthetics of digital interfaces, forensic evidence, or tactical maps. In these works, figures emerge like specters beneath colored films or yellowish membranes. Words surface like corrupted data or urgent inscriptions, embedded in surfaces that seem at once archival and organic. In Di Pietro’s practice—often developed in episodic chapters and world-building strategies—the exhibition takes shape not so much as a display, but as a narrative checkpoint. Long Story Short is a title, but also a coordinate—a latent scene, like a geotagged location in a logic known only to the artist and those who choose to follow the signals. The exhibition continues the artist’s investigations into “plausible monsters” and worlds of collapsed grammars, at the intersection of language, design, and sculpture. The work at Flip appears dry, yet what it contains is a vapor of time: something once wet, now encrypted.

Lorenzo Aceto – Wurzelkinder   Quartz Studio is pleased to present “Wurzelkinder,” the first solo show in Turin by the Italian artist Lorenzo Aceto (Pescara, Italy, 1985). The artist explains that the exhibition title is from the children’s book Etwas von den Wurzelkinder, translated as “The Story of the Root

HEY, YAY! The project, realized concurrently with the spaces of DOCK20 in Lustenau, inhabits the grey area of the fusion of happening, concert and performance.The space is set up to disorient the spectator and make him imagine that he is attending a concert that has already taken place, merging with

ANGELI MURATORI […] It is known that / somehow / they came across the fountain. / A sparkling liquid / gushed out./ They would gulp the stuff down / by instinct / with no understanding / and build temples / columns and arches / why / we don’t know /

MO’ TE L’ACCOND   Nel corso di questa ricerca, l’artista arriva a riconoscere una sorprendente analogia tra l’amnesia infantile e l’Alzheimer: due condizioni profondamente diverse, ma entrambe segnate da un vuoto nella memoria, da un’assenza di accesso al proprio vissuto. Lo studio di questi fenomeni rafforza in Papicchio l’idea che

Guilty Party *in three acts* Guilty Party *in three acts* Taking the form of a performative inquiry, the exhibition explores how mythologies—understood through Roland Barthes’ lens—transform collective emotions such as guilt, shame, and others into tools of manipulation. Myth, in Barthes’ terms, is not a lie or fiction but a

“Gesto e Segno” takes the form of a visual manifesto that explores the artistic gesture and mark in various registers: physical, political, playful, poetic and aesthetic. In this dialectic, the exhibition explores the psychological and dynamic expression of the body through actions that are at times emphatic, at other times minimal and part of the everyday, and occasionally charged with a deep sense of political tension and revolt. Despite their apparent semantic proximity, gesture and mark reveal fundamentally different natures and functions: gestures are spontaneous and uncoded acts, rooted in corporeality and emotion. They can accompany or even replace verbal language. Marks, by contrast, are mostly conventional and codified elements with recognisable meanings within systems. Yet marks, too, can appear ungrounded — as a pure presence, as an act that simply is — much like poetic language, which strives to speak the unspeakable, to signify beyond signification itself.

Stef Fusani – Goffamente Beati   Candy Snake Gallery è lieta di presentare Goffamente Beati, progetto dell’artista e designer sperimentale Stef Fusani, accompagnato da un testo di Sofia Gotti. Residente a Madrid dal 2008, Fusani sviluppa una ricerca che indaga il rapporto tra individuo e realtà, ponendo al centro il

A neon illuminates a word, while an installation of gleaming surfaces and childish forms stands without explanation. Nearby, a duck and a book remain still, as if waiting for something.