Matteo Nasini
Selected works
2011-2023

The research of Matteo Nasini starts from sound study, to take physical shapes deeply examining and observing the sound and plastic
substance’s surface. This leads to a practice that methodologicallydevelops in sound installations, performances, sculptural and textile
works.
He showed his work at :MANIFESTA 13 (Marseille) Triennale (Milan) Maxxi, Macro, La
Galleria Nazionale, Auditorium Parco della Musica (Rome); Centro
Arti Visive Pescheria, (Pesaro) Fondazione Pistoletto (Biella) Palazzo
Fortuny (Venice) MO.CO (Montpellier) MRAC (Serignan) Hammer
Museum (Los Angeles); Rowing (London) Royal Museum of Worcester (Worcester)Welcome Wanderer
2021
Welcome Wanderer is a multimedia device capable of transforming the passage of the billions of stars of the Milky Way transiting above it into automatic composition and graphic streaming.
The core of the project is the automation and geolocalisation of
the Gaia DR2 star catalogue produced by ESA, which includes
thelocation of some 4.5 billion stars within the Milky Way. From
where the Welcome Wanderer is located, the software that controls it is able to recognise the stars that are passing overhead andsend the data to the devices that activate the artworks.
Welcome Wanderer aims to expand the boundaries of the visible and amplify the immensity of what surrounds us in order toemphasise the isolation of our planet from the rest of the Galaxy
and highlight the common destiny of all humanity on the samejourney towards the unknown.

A Distant Chime, 2023, detailA Distant Chime, installation view at Italin Culture Institute, Stockolm, 2023

Extract from athe review by Giovanna Manzotti, Frieze Magazine, April
2023
The substance and behaviour of sound is the focus of Matteo Nasini’s recent solo exhibition, ‘A Distant Chime’, at Clima in Milan. For this project,
his fourth solo presentation at the gallery, the Rome-based artist and composer has created an installation comprising three arched metal forms on
which sit clusters of mechanically activated percussion instruments thatgenerate musical notes in response to electrical impulses. Spanning thefirst room of the gallery, these elements are connected to a cube-shaped
control unit in the second space via plastic tubes and cables, which coilsnake-like along the wooden floor. When I spoke to Nasini about the workat the opening, hedescribed this box as the ‘brain’ of the whole system: it contains a computer with audio software capable of recalling the Gaia catalogue – an archiveof the position, brightness, distance and proper motions for more than abillion stars.
The result of a long-term collaboration with a physicist, a computer developer and an architect, Nasini’s installation depends on a series of sophisticated calculations and algorithms. When a star in the Milky Way passes
through the sky above the gallery, the computer
identifies it, detects information about its distance and intensity, and communicates this data to the audio software, which generates a series of numbers corresponding to musical notes. These notes then reverberate withina harmonic system, randomly activating the
percussion instruments. The outcome is an ephemeral, aleatory sequence of music that corresponds to the harmonies generated by the celestialbodies orbiting above us.
Continue reading on
https://www.frieze.com/article/matteo-nasini-a-distant-chime-2023-review

A Distant Chime, 2023, detail.

A Distant Chime, 2023, detail.

Video excerpt of the installation in action
https://www.youtube.com/watch?v=hO6csKZC16YA Distant Chime, 2023, Iron, steel. PVC, wood, PLC, 2 Glockenspiel, 6 tuning bell, triangle, cymbals.

Welcome, Wanderer!
We are on planet Earth. It’s a humid and very crowded place. In summer it’s hot, in winter it’s cold. Right now, for one reason or another,
the dominant species is the human race. The human being is a typeof mammal that self-regulates through intersubjective tales, tales thatare reported as true only as long as a large number of human beings
believe they are. At this time, the most credited tales on Earth aremoney, religion and nationalism. The human being has the tendency
to physically eliminate those who contradict such stories.
We are in Milan. The air is heavy with the fumes of the numeroushydrocarbon combustions, but the dreamyand indifferent calm of
the rain occasionally renders its purity.
We are in an art gallery. It is a place to showcase artworks, which
are things created by artists. Generally speaking, those things tend,
sometimes surprisingly, to predict the unfolding and twisting of theabove-mentioned tales. This implies that galleries are often eyed withsuspicion and distrust by the human population.
Before and around you, dear Wanderer, you have an artwork thatturns the movement of the stars into music. This is how it works: inthe silicon components of a computer a huge amount of information
has been imprinted about the position, temperature, luminosity, gravity, chemical composition and so on, of a billion and seven hundred
million celestial bodies. This implies that, in a sense, the computer
knows everything that at present is possible to know about them.
This series of information was gathered from the measurements
collected by a satellite called GAIA. In the computer there is also a
program, which is a complex sequence of
instructions used to manage the electrical signals within it.

Welcome Wanderer, 2021 Sound System, ceramic, acrylic, enamel, wood,
8 tweeter, 2 woofer, 500 W.

These instructions combine the information of each star with
the information of a given position on Earth. Assuming thatthe continuous crossing of data constitutes the computer’s
imagination, it is as if at that given position appeared a perpendicular line as long as the entire galaxy. In terms of electronic
imagination, whenever a celestial body touches this line, thecomputer communicates it to another part of the program,which translates the information into music score.
The computer’s imagination has been specially coordinatedwith the time and space in which this art gallery is located, and
it is set to reflect and render, in the form of sound, the encounter between the planet Earth and the wandering stars of the
Milky Way.
Oh happy Wanderer, this occurrence is not rare at all: twelve
million stars pass above Milan every day, and none of them fall.
The music score is performed through various timbres of human voice, here no longer employed in the transmission, attack
or defense of fickle intersubjective tales designed to withstandthe unknowable heaviness of the void, but as a connection
between the continuous celestial movement and the apparent
earth’s immobility. For human beings, the Universe is not madeup of atoms, but of stories. That’s why the artwork you’re listening to has no word. And as you listen, oh sweet Wanderer,
enter the listening
and become listen. Only this way you will be able to realize the vastness of the spaces without sound that inhabit ourconnected gravitation, and to give the right value to the unknowable process that made matter material, and, as your distantsister, mother, ancestor, to recognize it in its playing. universe,

Welcome Wanderer at Clima, Milan, curated by Treti Galaxie, installation view.

We are the breath of the stars, wandering fruits of a random cosmic fluctuation in an untold immeasurable process that has no purpose.
Sweet Wanderer, the star that, calling her ride, briefly shone on the hour of our meeting must continue on its long
wandering, and if you have followed me so far, you willagree that it is without regret, remorse or sadness that wewill watch it pass. Life is mere opinion, and the universe,change.
Matteo Mottin

Welcome Wanderer, frame from the streaming of transit.

Sidereo
2021
Sidereo is a sound sculpture capable of transferring a two-minute stellar transit into sound. it is a large electric carillon, the rotating central
drum drives the tuned sheets with its spikes.
The graphic representation Grafomania shows the various data translation steps with the algorithms required to generate a score and how totranslate it into the space of the carillon cylinder.

Grafomania, 2021, ink on paper, 100 x 70 cm

Sidereo, 2021, wood, steel, PLC, tuned sheets, iron, 60 x 110 cm

La Notte di San Lorenzo
Ocean Space - TBA21–Academy
Venice, 2022
Our ancestors named each of the few stars they could see
in the sky, today modern satellites file billions of them inthe form of numbers in million-page catalogues, whereother machines and specific applications are needed fororientation. Welcome Wanderer is articulated through acomplex numerical exploration on different temporal andspatial scales, with an abnormal amount of data that thesoftware tries its best to process in real time.
Through the evocative experience of sound, the activationof the chorus is intended to recall the stars through thehuman voice, to forge that impossible and lost bond thatunited the spiritual conception of mystery to the infinity of
the firmament.
Singers:
Maria Chiara Ardolino, Dima Bakri, Mariachiara Cortez,
Giulia Marchetti , Cecilia Mezzoli, Izabella Milto,
Silvia Regazzo, Cecilia Rossi.

Performance recording
https://soundcloud.com/matteo-nasini/welcome-wanderer-ocean-space-chiesa-di-san-lorenzo-venice

Welcome Wanderer, Ocean Space, Venice, 10 August 2022.

Sparkling Matter
2016
The research transforms the brain waves generated during
the REM phase into sculptural solids and automatic audio
compositions. Using a technology capable of translating
the brain’s electric activity into forms and sounds,
Sparkling Matter expands the confines of the oneiric
world, giving it body and noise, as well as making theexperience a participative one.

Encephalogram recorded with EMOTIV Pure EEG™, 2016.
© Emotiv

Sparkling Matter is an exploration of the possible ephemeral andmaterial forms that dreams can produce. It all begun from thedesire to listen to the sounds generated by the different sleeping
phases, to be able to turn them into a participatory experience.
After the invention of the encephalogram by Hans Berger in
1924, the idea that the will of the brain could trigger the act of amachine gave birth to a research, better known as Brain Computer Interface. Over time, its applications in the acoustic field havebeen focused mostly on the attempt to organize music writing ina conscious manner, solely through the use of thought, by transmitting data from the encephalogram to the machine.
In order to observe deep sleep and the mystery surrounding
it, in Sparkling Matter the musical composition has completely
been delegated to the act of thinking in its more unknown form,
when the mind is free to dream. This open-ended exploration of
the unknown gave voice to the diverse states of consciousness.
Fourteen electrodes have been used to monitor the electrochemical activity of the brain. Each one of them is able to send an
independent signal to a conversion software. These programs
transform, in real time, the encephalogram data into signals
recognizable by an audio software, which translates them intosound. The first presentation of Sparkling Matter happened atMarsèlleria in Milan (spring 2016), where, during a sleep concert, we listened for a whole night to the sounds generated by aperformer, asleep and dreaming. A second performance, Notturno Smarrito, was realized at the Galleria Nazionale in Rome
(winter 2017). On this occasion, a circular audio system reproduced the perimeter of the electrodes connected to the performer.

Sparkling Matter. Sleep concert, Marselleria.
Milan, April 7, 2016
Performance time: 11 pm - 7 am

It was able to recreate a spatial vision of the synapsis andof the cerebral connections happening during the different
phases of sleep. This way, the generated sounds created athree-dimensional environment, where the public could
wander through. A third sleep concert took place at Marsèlleria in New York, in the winter of 2017. In time, newconcerts and night performances have generated otheroccasions to experiment, new sound material and data totranslate, as well as new chances to deepen the research.
Parallel to the sound research, a spatial and material translation has been indeed experimented. The data related
to the REM phase have been multiplied by a software for
automatic landscape generation (Scenery Generator). The
generated shapes have been then recreated in porcelain,through a 3D printing process.
Either with sound or matter, what we perceive is a temporal narration of an activity, both intimate and secret, capable of creating a portrait, or a simulacrum, of our thought.
In spring 2017, other sessions took place at Palazzo Fortuny in Venice, during the exhibition Intuition. In therooms that used to be Mariano Fortuny’s atelier, the sleep
concert and porcelain printing went on for several days.
On this occasion, for the first time, it was possible to observe the whole process in real time, from the hypnagogic
phase to the printing of dreams.
Matteo Nasini

Sparkling Matter. Sleep concert, Palazzo Terzi, The Blank Artdate.
Bergamo, May 26, 2018
Performance time: 10 am - 1 pm

Sparkling Matter, 2018
Installation view of TBT (To Be Titled, Turn BackTime) curated by Gabriele Gasperi; Magazzino,
Rome.

Sparkling Matter, 2018
Installation view of TBT (To Be Titled, Turn Back Time) curated by
Gabriele Gasperi; Magazzino, Rome.

Excerpt from Davide Daninos, “The Necessary”, in INTUITION, MER. Paper
Kunsthalle, Ghent, 2017, pp. 62-81.
The writing of thought
Intuition is a process that is at once passive, since it is based on the capacity
to reap and record one’s own ideas, and active, since it gives meaning to thatwhich we have heard or received. What we experience through rational thinking is nothing more than a synthesis of the parallel processes that take placein our brains unbeknown to us. The coherence we perceive is the result of afiltering process that our minds perform to construct a stable image of theworld before us and the illusion of a continuous consciousness within us.
André Breton used to call ‘interior ear’ the instrument necessary both tolisten and to distinguish the various parallel processes that define our mental
life as a constant ‘dynamic present’, as Boncinelli puts it. This ‘ear’ focuses ourhearing on the background noise of consciousness, orients it towards thosemovements that accompany or precede rational thought and that, if properly
analysed, can describe the secret life of our mind.
On 27 September 1933 (around eleven at night, as I was trying to fall asleep earlier than usual)’, Breton writes, ‘I once more recorded such a series ofwords, not provoked by anything conscious in me. Although spoken as if
by an actor off stage, they were quite distinct and, to what is aptly called theinterior ear, constituted a remarkably autonomous group. I have been forced
at various times to turn my attention to these particular verbal formations,which, in any given case, can appear very rich or very poor in sense but – atleast by the suddenness of their passage and by the total, conspicuous lack ofhesitation which reveals the manner in which they are brought to us – bringto mind such an exceptional certainty that one does not hesitate to examine
them in greater depth’.
Breton himself defined this form of psychic automatism as thought-writing,and automatic writing was the Surrealist method for registering it. A symbolof the paradigm shift promoted by this French intellectual, this practice deprives interior discourse of rational objective by eliminating any interruption
in or segmentation of the stream of consciousness. In doing so, it transforms
the artist into a ‘modest recording instrument’.

Sparkling Matter, 2017
Installation view of Intuition, curated by Daniela Ferretti e Axel Vervoordt
Co-curated by Dario Dalla Lana, Davide Daninos and Anne-Sophie Dusselier;
Palazzo Fortuny, Venice.

For me, the image that best captures that definition are the phonograph wax
cylinders that Thomas Edison invented towards the end of the nineteenth century.
These simple cylinders were capable of recording sound simply through a membrane connected to a needle. Trembling, it was able to engrave sounds vibrationsin the soft and sensible surface of the wax and, subsequently, to replayed them.
This attention to the mechanical receptivity of the Surrealist artist helped to limit,
insofar as that is possible, the vanity of the author; to eliminate any virtuosities
that can reduce even the most mature research to the easiness of effects. Once it
had been brought into such clear relief, this tendency ran through the various artistic revolutions that succeeded it; indeed, it is still operative today, most notably
in practices where a collaboration with instruments and materials is central to the
production of the work. In the ‘decalcomania without preconceived object’ of Óscar Dominguez, for example, the composition was born solely from the encounter
between paper, ink, and the will of the artist. But the same tendency can be foundin Max Ernst’s frottages and in the canvases where Isa Genzken uses oil paint is tobring out the drawings hidden in the floor of the artist’s studio (Basic Research,
1989). But let us return to the image of the artist both as source and as recording
instrument. We find a direct example of that tendency in the series of self-portraits Robert Morris made in the early 1960s. Self-Portrait (EEG), from 1963, is arecording of the artist’s brain activity, monitored through electroencephalography,
a simple scientific instrument capable of automatically transposing the invisible
movements of our mind into graphic form.
This intuition allowed the artist to recognize and translate his own mental activity
into visual poems, whose form is akin to a musical score. Thus we see, recorded
on a piece of paper, all the oscillations and intermittences that characterize ourconsciousness. It is a new form of automatic drawing, in which the mind express
itself ‘on its own’.
Starting from the same presuppositions, Matteo Nasini pursued and updated thetechnique using new typologies of exploration (Sparkling Matter, 2017). This Italian artist has focused his research on the oneiric dimension of consciousness andcreated new methods to give form to the invisible contents of mind as it dreams
up scenarios that are free from any rational order. To give voice and body to these
dimensions of our internal life, Nasini monitored the electric activity of the cerebral cortex of several subjects with an instrument similar to Robert Morris’, duringone, or more, sleep cycles.

Sparkling Matter, 2017
Installation view of Intuition, curated by Daniela Ferretti e Axel Vervoordt Co-curated by Dario Dalla Lana, Davide Daninos and Anne-Sophie
Dusselier; Palazzo Fortuny, Venice.

Subsequently, the artist took the linear traces produced by the electroencephalograph and rotated them on their axis. The result is a translationof two-dimensional information into geometric solids, that were subsequently printed in ceramic.
On this topic, see as well Erik Lumer’s essay, ‘From Subliminal to Sublime’, in this book.
See Edoardo Boncinelli, Come nascono le idee (Roma and Bari: Laterza, 2008), p. 79.
André Breton, ‘The Automatic Message’, in What is Surrealism? Selected
Writings, ed. by Franklin Rosemont (New York: Pluto Press, 1978), pp.
132-33.
‘SURREALISM, n. Pure psychic automatism, by which is intended toexpress, verbally, in writing, or by other means, the real functioning ofthought. The dictation of thought in the absence of all control exercisedby reason and outside all aesthetic or moral preoccupations’. And: ‘ENCYCL. Philosophy. Surrealism rests in the belief in the superior reality ofcertain forms of associations neglected heretofore; in the omnipotence ofthe dream and in the disinterested play of thought. It tends to ruin, definitively, all other psychic mechanisms and to substitute itself for them inthe solution of the principal problems of life’. See Breton, ‘Manifesto ofSurrealism’, in What is Surrealism? Selected Writings, p. 163-64.
Bretón, ‘Manifesto of Surrealism’, in What is Surrealism? Selected
Writings, p. 171. For an extensive discussion of these themes, please
see the Margaret Iversen’s essay, ‘Profane Illumination’, in this volume,
as well as her essay ‘Index, Diagram, Graphic Trace’, which stimulated
many of my reflections here and which suggested to me also the image of the wax cylinders. See Tate Papers, no. 18 (Fall 2012) available at:
http://www.tate.org.uk/research/publications/tate-papers/18/index-diagram-graphic-trace.
André Breton, Surrealism and Painting, trans. Simon W. Taylor (Boston: MFA Publishers, 2002), p. 128.

Sparkling Matter. Sleep concert, Palazzo Fortuny.
Venice, May 10-11-12, 2017
Performance time: 3 pm -6 pm

MATTEO NASINI. SEEING THE ABYSS IN COMMON
PLACES
Studied from a purely musical perspective, Matteo Nasini’ssound survey insists on tracking alternatives to traditionalmusical composition.
The artist does it with the most immediate choice: cutting off
the composer.
Nasini’s music production process actually excludes rationality in the choice or omission of sound and timbres.
His Wind Harps are an explicit example of that proceeding:
the ropes, mounted over an harmonic sound board and left
outdoors are stimulated by the wind action, thus, they begin
to vibrate and finally play. The thickness of the strings imposes a various wind resistance, hence, the more intense thewind blows, the more the strings of the harp can resonate andreach the threshold of audibility with their different consistencies and times.
The artistic effect - a musical composition without a realcomposer - is therefore made up of a set of sounds chosen by
the wind itself.
Sparkling Matter is a similar investigation: The project has
been presented and exhibited both at the Marsèlleria and the
Climate Gallery in Milan over the course of one year; it also
won the Talent Prize 2016 and it was hosted at the National
Gallery of Rome, the project also inaugurated the new spaceof New York’s Marsèlleria and it was presented at the Palazzo
Fortuny during the Venice Biennale.

Dream Portrait, 2016, porcelain, 19 x 7,5 x 7,5 cm.

While the Wind Harps excluded the composer, in Sparkling
Matter the replacement is even more ambiguous though stillradical as it is an investigation through stages of human consciousness. Through the action of an electroencephalogram(EEG), Nasini maps the activity of a sleeping person; nineteen
magnets correspond to as many areas of the brain analyzing
the electrochemical activity. Cerebral connections and synapses are associated to a software translating such impulses intosound.
The combination of the brain’s nineteen areas, stratifying orcancelling each other, creates a composition in which man –though generating subject - remains a compulsory spectator
only. It is, in fact, the irrational part of the unconscious sleeper
the real creator of the whole sound architecture, which is why
the central issue of Sparkling Matter is about taking away human beings from its rational and enlightened context.
Nasini has genuinely transformed this intuition into a live per- Sparkling Matter, 2016, installation view at Clima, Milan.
formance in which the transformation, from sleeping impulses
into sound, is handled by the artist himself while the public is
invited to fall asleep to the sound of the sleeping unconsciousand sharing the sleep phases with him.
The impulses were then translated into ceramic sculptures
thanks to a 3D printing process. Shiny white and cone-jagged
shapes appear as the materialization of sleep, to all intents andpurposes they emerge as the iteration of irrational functions.
Compared to other sound artists of his generation, Nasini’s
narrative dimension is more explicit, conceived as succession
and stratification of sounds in a determined time.

The alternation between the different stages of sleep has theeffect of an unstable composition built on silences and synthetic dissonances that reflect the brain’s behaviour. However,
it would be naïve to believe that the composing human element may be eliminated from the musical architecture.
On one hand Nasini excludes the rational process of composing and on the other he procrastinates or rather anticipatesa direct human intervention. The Wind Harps are supposed
to play by themselves though they actually sound exactly likethe artist has tuned them while the natural role of the wind
can interfere on the existing material.
In Sparkling Matter is instead the human intervention toallow the impulses to sound, through the software creation,
exactly like the artist wants. In this investigation, the artist come close to avant-garde composers, notably Arnold
Schönberg, Pierre Boulez and John Cage. The idea of proposing an alternative solution to the traditional tonal composition system, whether through the creation of another system the rigid dodecaphony - or indulging in sound casualty, finds
an astonishing synthesis in the work of Nasini in which bothcausality and control express themselves in a peculiar balance.
The artist manages to propose a real and solid alternative tothe traditional composition system through the liquidationof rationality in the process of choosing the musical material. While the role of the composer has always been to makerational choices regarding a given model, Nasini leaves thischoice to irrational discerning factors as wind or humansubjects.

Sparkling Matter. Sleep concert, La Galleria Nazionale.
Rome, January 21, 2017
Performance time: 11 pm - 8 am

The writer Karl Kraus wrote: “music that lays the banksof thought” while the composer Anton Webern censured
this aphorism for precluding music from being thought
and rational impression - which is not too bad sometimes.
Sparkling Matter, through its mapping of the state of unconsciousness, has actually succeeded in achieving whatshould be the goal of any artistic expression: learning to
explore abysses in common places.
Francesco Angelucci for Arte e Critica

Grafomania, 2022, ink on paper, 100x70 cm

Sperkling Matter, 2018
Vinyl 180gr, 36 pages booklet, edition of 500 copies.
The collected sounds of this edition have been extracted from several sleeping phases, recorded during the sleep concerts happened
between 2016 and 2017.

Editionhttp://www.yardpress.it/sparkling-matter/
Listen here
https://soundcloud.com/yardpress/sparkling-matter-matteo-nasini

Splendore Neolitico
2018
Neolithic Sunshine is an investigation into the extinct sounds andharmonies of our world. Imagining what mankind’s first instruments might have looked like, the pierced bones of extinct animals
whose origin dates back around forty thousand years, the artist
has selected from Italian and foreign Natural History museum
collections, fossil remains dating back to the Pleistocene, which hethen scanned and reproduced using the 3D printing process. Tusks,
horns and bones of prehistoric animals are thus once again transformed into polished white ceramic tools, whose intrinsic evocative power recalls a mythical and ancestral imagery.
The project was presented in 2018 in the solo exhibition Neolithic
Sunshine curated by Marcello Smarrelli at the Fondazione Arti Visive Pescheria, Pesaro.
“The installation ‘Neolithic Sunshine’, realised in the Suffragio
Church, is a sound piece composed by the artist,
performed by an ensemble of musicians using the instruments/
sculpture and diffused in space with a system that follows the circular shape of the building. The piece, on the one hand proposes anattempt at evoking primordial sounds, on the other hand it allows
us to listen to the extinct and unheard sounds of these millennial
fossils. The instruments stand on a podium in the centre of thedodecagonal hall - as if they had been deposited after a musicalperformance - surrounded by a structure made of woollen threads,
entitled ‘Tenda vestigia’.
Splendore Neolitico, glazed clay, variable dimensions, Vulcano, 2023

It is an installation monumental and at the same time ephemeral,
which with its coloured lines defines a metastasis capable of connecting interior and exterior: the bundle of threads, in fact, starts at
the Liceo Artistico Mengaroni, in front of the Pescheria Visual Arts
Centre, crosses the Piazza della Creatività and penetrates the Chiesadel Suffragio, creating a sign in the urban context thatunderlines theideal relationship between the three architectural spaces.
In line with the display in the Suffragio Church, the ‘Lost Garden’,the installation that occupies part of the part of the Loggiato della
Pescheria, creates a golden chromatic environment, suggested by thepresence of elements charged with primordial energy and referable
to the evocative idea of the find. Primordial energy and traceable tothe evocative idea of the find. A series of more than twenty sculptures, also made from wool, scattered along the nave, refer to the remains of a non-existent architecture, columns that support nothing,but- as with ‘Tenda vestigia’ - they refer to a ritual and fantastic
space. As an ideal epicentre of the energy generated by the works inthe exhibition, Nasini has placed, again in the Loggiato della Pescheria, ‘Wheel’, a large ceramic ring that recalls the archetypal forms ofprehistoric architecture and the first tools created by man. Finally,
acting as an ideal backdrop to the various exhibition episodes, wefind ‘Principio Selvatico’, a tapestry hand-embroidered large-scale tapestry: a view, a glimpse, a primitive passage, a lush and wild sceneryin vivid and wild scenery with vivid and disturbing colours.”
Listen Neolithic Sunshine
https://soundcloud.com/matteo-nasini/neolithic-sunshine

Neolithic Sunshine, 2018, Glazed clay, 95 x 14 x 11 cm.

Neolithic Sunshine, 2018, installation view at Centro Arti Visive Pescheria, Pesaro.

Tenda Vestigia, 2018, installation view at Centro Arti Visive Pescheria, Pesaro.

Experimenting today with the musical potential of these archaic sound objects whose original melody has been irretrievably lost, the artist has developed a performance centred on
the dynamics linked to the origin of sound, its form before
being translated into harmonies, its civilising function in thefirst human communities, the imitation of natural and animal
sounds, and the extraordinary idea in which in an indefinite
place and time man invented music.
“Whenever the genesis of the world is described with sufficient precision, an acoustic element intervenes at the decisive
moment of action. At the instant when a god manifests thewill to give life to himself or to another god, to make heavenand earth or man appear, he emits a sound. He exhales, sighs,
speaks, sings, shouts, coughs, expiates, sobs, vomits, thunders, or plays a musical instrument.
The source from which the world emanates is always an
acoustic source.”
Marius Schneider from The Primitive Music

Neolithic Sunshine, 2018, Glazed clay, variable dimensions

The first performance was presented by an ensemble offive in 2019 at the Auditorium in Rome curated by Anna
Cestelli Guidi, in the same year a second live performance in the spaces of the abbey of Fontfroide, commissioned
by MRAC Occitanie - InSitu curated by Emmanuelle
Luciani.
video of the prformance at Fontfroide Abbey
https://www.youtube.com/watch?v=GlSeA0T1HUQ

Splendore Neolitico, at AuditoriumArte, Rome, 8th March 2019.

Technological innovation today allows us to look at thepast in a futuristic way, it makes possible the manifestation of lost phenomena. In the performance, the return of
this ancestral inevitably mixes with the musicians’ interpretation and, in this necessary exchange, time unravels
in a non-linear way, restoring a sense of communion
between distant eras and humanity.

Splendore Neolitico, at Fontfroide Abbey, Narbonne, 24th July 2019

The coexistence within the project of different present, as the research progressed, was further developed
through the inclusion, among the ancestral acoustic
sounds, of electronic elements.
Sound experimentation in this sense gave rise to new
performances, with an ensemble of eight performers,presented in the summer of 2023.
The first took place at Città dell’arte - Fondazione Pistoletto in Biella in the context of the exhibition The Golden Age curated by Gabi Scardi.
video of the performance at Fondazione Pistoletto
https://youtu.be/a5TlF38uZrI

Splendore Neolitico at Fondazione Pistoletto, Biella, 25th June 2023

Subsequently, the ensemble performed in the gardensof Villa Medici in Rome on the occasion of the Nuit desCabanes curated by IUNO and Caroline Courrioux.
video of the performance at Villa Medici
https://www.youtube.com/watch?v=C7x_vgSJSqA

Splendore Neolitico at Nuite de Cabanes, Villa Medici, Rome, 27th June 2023

During Volcanic attitude - Festival of contemporary culture, curated by Cose Cosmiche, the performance moved
within the special setting of the island of Vulcano. Preceded by a walk on the sunny path to the volcano, the performance took place at the top of the crater. This evocativeand inhospitable location amplified the content of theperformance by evoking the same primordial times recalled by the unheard sounds of fossils.

Splendore Neolitico Ensemble:
Francesco Angelucci, Nicola Miele, Matteo Nasini,
Giuliana Paolino, Gabriele Pigazzini, Damiano Tata,
Tanvi Shaha.

Splendore Neolitico at Volcano Attitude, Vulcano Island, 2th July 2023

Principio Selvatico, 2018, woll, fabric, 415 x 300 cm, installation view at Clima, Milan.

The Golden Age, 2023, woll, Fabric, 750x320 cm.
Installation view at Fondazione Pistoletto, Arte al Centro, curated by Gabi Scardi,

Slowly, Sandy
2023
Is an installation presented for the exhibition bassa marea(low tide), curated by Davide Daninos at Spazio Contemporanea in Brescia in 2023. The work is composed of sand that isshot through by jets of air, alternating moments of stasis with
moments of movement in which the sand seems to bubble
and tiny grains of sand raised by the movement create a patinathat blurs the surrounding vision. Slowly Sandy reflects on theuncertainty and instability that reign in our days, trying to blurthe horizon in a surreal way, altering certainties by materialising the contradiction that sand is not water,

Slowly Sandy video extract
https://vimeo.com/912006060/74b8324543?share=copy

Slowly, Sandy, 2023. Sand, air, steel, PLC, electromechanicalsystem. 400x300 cm
Installation view at spazio contemporanea, Brescia.

Slowly, Sandy, 2023. Sand, air, steel, PLC, electromechanical system. 400x300 cm

Torre Stormita
2018

Torre Stormita is a project for the sounding of an architectural structure where sound sculptures with strings are arranged
circularly inside the tower and are driven by the energy of thewind that sets them in vibration. Depending on the directionof the wind, a different section of the tower will resonate, spreading harmonies that propagate throughout the tower, which istransformed into a large sound box
The sound that comes from the sea.
Emptied space, divided between clay and sand, the Tower of
Bollita carries with it the trace of an ancient history populated
by silent guardians. A defensive outpost, from here the Ionian
Sea was scrutinized in a condition of action rather than passive
listening, when - with the threat seen from the sea - a networkof visual or acoustic signals were generated, warning of theimminent danger. The Tower of Bollita was a living space: thesmall military garrisons that guarded the place lived in a stateof constant waiting, day and night.
The inhabitant of the tower is, therefore, the attendant, the one
who is predisposed to listen, to perceive a signal - be it visualor sound - in a dimension of immobility and silence. From thisdesire to rehabilitate listening as a new way of relating to space
and time, the experience that the works of the Torre Stormita
installation invite us to is that of waiting.

The Saracen tower in Nova Siri.

In this place, it is in the condition of an attendant that areflective attitude is nourished, predisposed to abstraction,and silence becomes relational, rather than absolute, in paying
unconscious attention to the world that the artist is creating.
With the auditory and imaginative practice that Nasini’s sculptures require, our condition of listening to and perceiving theenvironment also changes, because it is precisely through thesound form that new suggestions are created in the visitor.
When the hissing of the wind takes on form in the sound works, the encounter of the air with these organisms shapes newchannels of communication between outside and inside. Theinternal spaces of the Tower as vibrant cavities are arranged
to resonate; while the external spaces become closer and theloose time, perceived as a drive, follows the birth of a new andfragile sound, entrusted to the imponderability of the wind
and the natural elements of the surrounding landscape.
Nicoletta Guglielmucci

Video of Stormita Tower

https://youtu.be/sZQeWa2jfd8

Torre Stormita, installation view.

Centocordo
2011
The artwork is inspired by the Fascist-era transformation of
the Bari coastline and relates to the unfinished portion of thegovernment’s urbanization project, which anticipated using theport as a “colonial bridge” to the Arab world.
The concept is based on the idea of subverting this colonial
relation, rereading it from a perspective opposed to the actual
historical dynamics. The aim is to construct an instrument ofunion between the different cultures by taking an element capable of physically going beyond these two worlds – the wind
– and transforming it into a universal language: sound.
Centocordo is a sound sculpture that evokes the image of awindow, at once ideal and real, facing the Mediterranean. It has
a double set of chords that are stretched between the front andback of the installation and played by the wind.
The first set of chords, facing the sea, is tuned to the sequenceof the Arab scale, while the second, facing the land, is tuned
according to the principles of European harmonics.
Centocordo was hit by a storm in October 2011 that uprooted
him from the rocks.
To date it is still missing at sea.
Listen Centocordo
http://soundcloud.com/matteo-nasini/centocordo

Centocordo, 2011, wood, metal, nylon, 233 x 180 x 27 cm, installation view at Barisea port, Bari.

Campo Sintonico
2019
Campo Sintonico is a tpermanent installation composedof four sound sculptures in corten steel arranged to form
an acoustic perimeter, within the forest of the Nature Reserve of Lake Vico.
The sound is generated by exploiting the acoustic phenomenon of the excitation of strings stretched on soundboxes by the moving air. The frequencies emitted by thesesculptures express a sound set by man but managed by
the unpredictability of the natural element, giving back aharmonic and at the same time alien sound.
The ambiguity of this acoustics form has its expressive
potential in the ability to be able to evoke in a way that canbe associated with the musical experience, maintaining a
deeply distant and elusive behavior in total detachmentfrom human possibilities.
The listening experience of these sound objects is strongly
influenced by the environmental context: the absence ofwind, silence, with the arrival of the currents produces asound that has no beginning but rises from the inaudible
frequencies, returning an experience of a contemplative
nature where space, from a simple place, is transformed
into a generator of sound, as it is the morphological characteristics of the terrain that define the course of thewinds.

Campo Sintonico, 2019, corten stell, wood, nylon, ambiental dimension.
Campo Sintonico is located at these coordinates
42°21’34.3 “N 12°08’53.0 “EThe site:https://goo.gl/maps/ibAr75xtymswmxoB9

Cocomerophono, 2015, glazed clay, wood, metal, nylon, 80 x 40 x 40 cm.

The Sudden Gust
2014
This edition, composed of a vinyl and eight large-format prints,
collects part of the work that Matteo Nasini has developed overthe last four years in relation to “aeolian sound” – the sound thatis produced when a system of strings, applied to a sound box, ismade to vibrate by the wind. Rather than simply documenting it,
The Sudden Gust fixes the incorporeal dimension of the encounter between wind and sound in the form of an object.
Matteo Nasini often designs his aeolian interventions in vibrantspaces, where the environmental and atmospheric conditions,the interference noise, the position of the listener, the unpredictability of the wind, and the visual and plastic qualities of theobjects themselves constitute, in their entirety, an articulated
experience. With this edition, Matteo Nasini re-elaborates thatsame kind of experience by means of a vinyl and a series of visualcompositions.
The recordings contained in the vinyl are traces of concrete
events: throughout the years, the artist has recorded his “soundobjects” in several places and in different conditions. The wind
does not follow constant trends, directions or intensities; anaeolian instrument never plays the same way twice; and thesoundscapes, which consist also of background noises, change
constantly. The aeolian sound cannot be written, directed andperformed by a person.
Yet this is not merely a loss of control: beyond its randomness,
what is relevant in the work of Matteo Nasini is the non-humandimension.

The Sudden Gust, 2014
Vinil, A2 Print, edition of 500 copies

The artist’s role tends toward an act of containment: wind
instruments are the knot through which the invisible forceof the wind merges with the artistic intervention.
Once on the vinyl, this sound stretches out with precision,in an articulate and detailed way, filling that emptiness which we call “musical experience.” With its unpredictable andalien flow, the aeolian sound foregrounds the need to listen,
but also its profound inessentiality. The recordings of Matteo Nasini’s instruments produce at once a sense of lack andof completeness: the fullness of the musical experience, theelusiveness of the symbolic/expressive element.
The images that make up the prints in The Sudden Gust
likewise constitute a reflection on the invisible and incorporeal nature of the aeolian experience. Geometric structures,
inspired by the geometry of the instruments themselves
and by a certain tradition of musical scoring, intertwine
with photos that, just like wind and sound, seem almost
to disappear. More than ethereal, these images are opaque.
They are veils of themselves, and, just like the sounds, theystand as a sort of trace of repressed, universal memory.
The sounds recorded in this edition are neither more nor
less than discrete events in a potentially infinite flow:
everything happens even in the total absence of an informed interpretation. The listener is there, but he may as
well not be. In a sense, the aeolian sound is one that has no
beginning and no end. It is significant because it is always
other.
Valerio Mannucci

The Sudden Gust, 2014
Vinil, A2 Print, edition of 500 copies
Editionhttps://www.neroeditions.com/product/the-sudden-gust/
Listen here
https://soundcloud.com/matteo-nasini/the-sudden-gustMediterranean Sonata
2014-2023
Mediterranean Sonata is a sound project where the score isderived from the superimposition of pentagrams on maps of
the Mediterranean shores. The notes follow the course of thecoastline through a series of locations-elements that can beplayed and interpreted freely with each other, with instruments and tolls of the Mediterranean tradition.
The score was interpreted in the form of a 20-minute performance by a wind quartet during the 2023 edition of Ogni
Altro Suono, in Kora Center.
At the link is a performance I recorded during 2015 combining various instruments and field recordings of the coasts

Mediterranean Sonata, 2022, ink on papaer, 100x70 cm

Mediterranean Sonata, 2015
https://soundcloud.com/matteo-nasini/mediterranean-sonata

Matteo Nasini
Curriculum Vitae
Education
1996 - 2002 Degree in Double bass at “Conservatorio di Santa Cecilia”, Rome.
Teaching
Visual Art and Sound Design at Naba Rome
Solo Showbassa marea
Spaziocontemporanea, curated by Davide Daninos, Brescia, 2024
Notturno Smarrito
Associazione Barriera, curated by Davide Daninos, Turin, 2023
The Golden Age
Fondazione Pistoletto, curated by Gabi Scardi, Biella, 2023
Burning TreasureIuno, curated by Ilaria Gianni and Cecilia Canziani, Rome, 2023
A Distant Chime
Clima, Milan, 2023
Grafomanie
Sutura, curated by Qwatz Platform, Turin, 2022
Welcome Wanderer
Istituto Italiano di Cultura di Stoccolma, curated by Arianna Rosica and Gianlluca Riccio, Stockholm, 2023
Clima, curated by Treti Galaxie; Milan, 2021.
Neolithic Sunshine - Splendore Neolitico
Fontfroide Abbey, Narbonne, 2019, curated by InSitu Patrimoine et art contemporain.
AuditoriumArte, Rome, 2019, curated by Anna Cestelli Guidi.
Clima, Milan, 2019.
Centro Arti Visive Pescheria, Pesaro 2018, curated by Marcello Smarrelli.
Il Giardino Perduto
Operativa Arte Contemporanea, Rome, 2018.
Southwaystudio, Marseille, Curated by Emmanuelle Luciani, 2017.

Sparkling Matter
Marselleria, New York, 2017.
Clima, Milan, 2016.
Marsèlleria, Milan, 2016.
Sleepy Night
The Gallery Apart, Rome, 2014.
Group Exihibitions and Projects
2024“A Distant Chant” with Vokalharmonin and Fredrik Malmberg, Istututo Italiano di
Cultura di Stoccolma, Stockholm“TRAVELLERS MIRROR CITIES> < SRELLEVART RORRIM SEITIC” organized by
MoCA Shanghai, in collaboration with Venice International University and curated byMiriam Sun,and Giuliana Benassi.
“Stargazer” organized by NP-ArtLab, Corso Monforte, Milan
2023“Ogni altro suono” curated by Donato Epiro, Kora Center, Castrignano dei Greci,“Volcano Attitude” curated by Cose Cosmiche, Vulcano, Lipari“Festival de Cabanes” curated by Iuno and Caroline Courrioux, Villa Medici, Rome
“Woolscape” curated by Gabi Scardi, Fondazione Pistoletto, Biella“Festival del Paesaggio” curated by Arianna Rosica and Gianluca Riccio, Museo
Axel Munthe, Capri“Dieci” Operativa Arte, Rome
“Screwed Harmonies” Vetra Building, Milan“XXXIV Biennale di Alatri” curated by Davide Sivioli and Valeria De Siero, Alatri“Satelliti” curated by Giorgio Galotti, Caccia al Piano Bolgheri, Castagneto Carducci
2022“Welcome Wanderer” curated by Maddalena Pelu, Bisentina Island.
“Notte di san Lorenzo” Ocean Space TBA21-Academy, performance, Venice“Corale Errante” CBF-Campobase Festival, TONES teatro Natura, Val d’Ossola“The Jolly House” presented by CRAC, Lavezzola
2021“Surfing NFT” Prize curated by Artissima and Fondazione per l’Arte Moderna e
Contemporanea CRT.
“Remote Armonie” curated by Treti Galaxie; Cubo, Bologna.
“Fittile” curated by Ugo La Pietra; Triennale, Milan.
“Helicotrema X” curated by Blauer Hase and Giulia Morucchio; Cinema Galleggiane,
Venice; Estruario Project Space, Prato; Hangar.org, Barcelona.
“Calendario dei Cento Anni” curated by Sara Pedron and Filò; Villa Estense.
“Das04”curated by Federica Patti; Cubo, Bologna.
“Metamorphosis” curated by Giovanni Berera, Paolo Bolpagni e Sonia D’Alto; VillaOlmo, Como.
“Il Canto degli erranti” Podcast in collaboration with Matteo Mottin.
“DENTRO | FUORI” curated by Irene Biolchini; Museo Carlo Zauli, Faenza.

“Chiantissimo” curated by Davide Sarchioni; Teatro Niccolini, San Casciano.
“Carta Bianca” curated by Valentina Ciarallo; Museo Gigi Guadagnucci, Massa.
2020“Anima Mundi” curated by Emmanuelle Luciani and Charlotte Chosson; MANIFESTA 13, Marseille.
“Les Extatiques” curated by Fabrice Busteau; La Seine Musicale, Paris.
“Una boccata d’arte” curated by Galleria Continua and Fondazione Elpis; Soverato Antica, Soverato.
“La forma della terra” curated by Simone Ciglia; Fondazione Malvina Menegaz, Castelbasso.
“Lo scrigno della notte” podcast in collaboration with Martina Magno for Spettro.info
2019“Torre Stormita” curated by Nicoletta Guglielmucci; Nova Siri.
“Hypermaremma” curated by Hypermaremma; Città di Cosa, Ansedonia.
“Les Chemins du Sud” curated by Emmanuelle Luciani and Charlotte Chosson; MRAC, Serignan.
“Mediterranean Sonata” curated by Beatrice Audrito; Labottega, Forte dei Marmi.
“Supercolla” curated by Guido Musante and Maria Chiara Valacchi; Martina Simeti Gallery, Milan.
“Lo spazio del cielo” curated by Marco Trulli; Riserva Naturale Lago di Vico, Viterbo.
“Il Crepaccio Instagram Show” curated by Caroline Corbetta; Milan.
“The Collector’s House” cutard by Caroline Corbetta; Molteni&C / Dada, New York, London.
2018“The Precious Clay” curated by Meadowarts; Royal Museum of Worcester, Worcester.
“Sparkling Matter” edited by Yard Press.
“Les Extatiques” curated by Fabrice Bousteau; Paris La Défense, Paris.
“TBT (To Be Titled, Turn Back Time)”curated by Gabriele Gasperi; Magazzino, Rome.
“The Tesseract” curated by Ilaria Gianni; American Accademy in Rome, Rome.
“THE BLANK ARTDATE - FREQUENCIES” curated by The Blank; Palazzo Terzi, Bergamo.
“No Man’s Library / La Biblioteca di Tutti” curated by Zerynthia; Ex Biblioteca Universitaria, Sassari.
2017“La Belle Vie Nuerique” curated by Fabrice Busteau; EDF Foundation, Paris.
“Format å L’italienne 8”; Espace le Carrè, Lille.
“Intuition” curated by Axel Vervoordt and Daniela Ferretti; Palazzo Fortuny, Venice.
“Arazzeria Pennese” curated by Barbara Martuscello; MACRO, Rome.
“Straperetana” curated by Saverio Verini; Pereto.
“PRE-CAPITAL” curated by Emmanuelle Luciani, Charlotte Chosson and Nicolas Bourriaud; La Panacee, Montpellier.
“Silenzi d’alberi” curated by Sonia Belfiore e Lucia longhi; Villa Brandolini, PIeve del Soligo.
“Made in Forte” curated by Beatrice Audrito and Davide Sarchioni; Forte dei Marmi.
“Sensibile Comune” curated by Ilaria Bussoni, Cesare Pietroiusti, Nicola Martino; La Galleria Nazionale, Rome.

2016“Talent Prize 2016”; MACRO, Rome.
“There is no place like home” Approdo Fluviale, Rome.
“Manufatto in situ 10” performance with Francesco Fonassi; San Pietro, Perugia.
“The Milky Way 3” curated by Damiana Leoni; Giò Marconi, Milan.
“Why Pattern?” curated by Barbara Nordacchione; Museo archeologico, Penne.
“Anello di Cupra” curated by Marcello Smarrelli; Biblioteca Civica, Fermo.
“The Hawt Show” organized by Galleria Rolando Anselmi; Colle Melone.
“From The City” organized by A Plus A Gallery; Venice.
“I Materiali Della Pittura” curated by Davide Sarchioni; Il Frantoio, Capalbio.
“Urban Vision” curated by Davide Sarchioni; Pinacoteca, Acquapendente.
“Helicotrema” curated by Blauer Haze; Centrale Fies, Dro.
“Studio e Bottega” curated by Ilaria GIanni; Pastificio Cerere, Rome.
“From Transhuman To South Perspectives” curated by Emmanuelle Luciani and Charlotte Cosson; Rowing, London.
“Roma Arte aperta” Curated by Luca Tomio; Ex Dogana, Rome.
“Mediterranean Sonata” curated by Rino Lombardi; Palazzo Costanzi, Trieste.
2015“Resort Mirage” curated by Ilaria Gianni; Operativa, Rome.
“Paesaggio Acre” Artissima, Operativa, Tourin.
“TalentPrize”; Museo Pietro Canonica, Rome.
“Color my life with the chaos of trouble”, curated by Giovanna Manzotti and Francesco Lecci; Clima, Milan.
“Distratti dal buio” edited by Yard Press, Rome.
“In che senso Italiano?(ancora!)” Bibo’s Place, Todi
“Seiemezza” curated by Benedetta Carpi De Resmini; Centro Elsa Morante, Rome.
“Il Museo Delle Palme” curated by LA Project Space; Botanical Garden, Palermo.
“Rob Pruitt’s Flea Market in Venice” curated by Tommaso Speretta; A plus A Gallery, Venice.
“Festival Internaziomale di Installazioni Luminose”, curatd by NERO; Via del Trullo, Rome.
“Va Nel posto Che Non So, Prendi Quello Che Non Ho”, curted by Gianni Garrera; Una Vetrina, Rome.
“La Scrittura Degli Echi” curated by NERO; Maxxi, Rome.
“A Bed Is A Door #4 - Le Petit Jeu” curated by Gasconade; Villa Romana, Florence.
“Sound Corner” curated by Anna Cestelli Guidi, text by Valerio Mannucci; Auditorium Parco della Musica, Rome.
2014“CODALUNGA” with Filipa Ramos; Aula Bunker, Rome.
“Andiamo LA” curated by Daniela Cotimbo; L’A Project, Palermo.
“The Sudden Gust” edited by NERO, text by Valerio Mannucci.
“There Is No place Like Home” ;Via Aurelia Antica 425, Rome.
“Helicotrema” curated by Blauer Haze; Fonderie Battaglia, Milan.

“Trust, Vita Vel Regula” curated by Michele D’Aurizio; Fluxia, Milan.
“A Bed Is A Door #3” Villa Romana, Florence.
“Mess On A Mission” curated by Gasconade; Art O Rama, Marseille.
“Nuove Residency” curated by Geraldine Blais Zodo; Nove, Bassano del Grappa.
“L’anno Venturo Alla Città Di Cosa” curated by Michele D’Aurizio; Ansedonia.
“Campus”, workshop on Cildo Meireles exhibition; Hangar Bicocca, Milan.
“Art is real” curated by Silvia Litardi; Piazza Pasquino, Rome.
“Iconica” curated by Bartolomeo Pietromarchi and Maria Alicata; Rome.
“Nuova Gestione” curated by Sguardocontemporaneo; Rome.
2013“Kick Off” performance with Francesco Fonassi; Via Farini, DOCVA, Milan.
“Una Vetrina”curated by Giuseppe e Gianni Garrera;: Rome.
“The Volume of Air” performance with Davide Stucchi; Serra dei Giardini, Venice.
“A Bed Is A Door”performance with Davide Stucchi; Villa Romana, Florence.
“Helicotrema”curated by Blauer Hase; MACRO, Radio3, Auditorium Parco della Musica, Rome.
“The Ritual of the snake” curated by Gianni Politi; Pastificio Cerere, Rome
2012
“STAN” performance curated by Ilaria Gianni; MACRO, Rome.
“FW2013RTW (KUDOS)”curated by Michele D’Aurizio; Federica Schiavo Gallery, Rome.
“Re-generation”curated by Ilaria Gianni and Maria Alicata; MACRO, Rome.
“Smeared with the gold of the opulent sun”curated by Chris Sharp; Nomas Foundation, Rome.
“Cartabianca”curated by NERO, sguardo contemporaneo and Carla Subrizi; Museo di arte contemporanea di Villa Croce, Genova.
2011“When in Rome”curated by Luca Lo Pinto and Valerio Mannucci; Istituto Italiano di Cultura, Los Angeles.
“AmenHammerAmeno” performance by Luigi Ontani, audio project by Matteo Nasini, curated by Luca Lo Pinto and Valerio Mannucci; Hammer Museum,
Los Angeles.
“Multiverse Tree” installation by Carola Bonfili, audio project by Matteo Nasini, curated by Ilaria Bonacossa; Torre Maizza, Bari.
“Le cose non crescono al buio” curated by Giovanni Mayer; Road to Contemporary Art, Kaleidoscope arena, Rome.
“Amarelarte” curated by Bruno Barzanti and Fabrizio Bellomo; Bari.
2010“Kippplelake” installation by Carola Bonfili, audio project by Matteo Nasini, curated by Ilaria Gianni and Costanza Paissan; MACRO, Rome.
“La-Bora-Torio”curated by Rino Lombardi; Palazzo Costanzi, Trieste.

2009“Visioni Dischiuse”curated by Francesca Sassu in collaboration with di Denis Isaia, Martina Cavallarin and Anna Maria Janin; Mandas, Cagliari.
Kinemastik International Short Film Festival; Malta.
“Risonatori Eolici”curated by Rino Lombardi; Museo della Bora, Trieste.
“Only Kaputt Landshaft”non-thingthing.com, curated by Sebastian Irrang.
2003-2008“Orchestra Luigi Cherubini“ directed by Riccardo Muti.
Further collaborations with the following conductors Kurt Masur, Jurij Temirkanov, Rudolf Barshai and Krisztof Penderecki.

Matteo Nasini
mttnsn@gmail.com