Il mondo sottile

YEAR
2025
DETAILS
  • VR installation, 180° video, 360° audio, carpet
  • Duration: 16 minutes
  • Produced by Officine Creative, University of Pavia, as part of a project curated by Anna Calise, Stefano Conca Bonizzoni, and Elisabetta Modena.
  • Installation at La Strozzina, for Lo Schermo dell’Arte, November 2025
  • Carpet created in collaboration with Lottozero (Prato) and Vera Bracklo

CREDITS
  • Video stills and Installation views

The VR installation Anìmule. Il mondo sottile consists of a 20-minute immersive virtual reality video set within a complex, shifting landscape. Resembling a theatrical backdrop, it features a cave, a forest, a mountain, and a waterfall. This background was originally created using paper silhouettes torn by hand, a method developed by the artist for the Anìmule project (2022–ongoing)—an initiative encompassing workshops, performances, installations, and a series of watercolors on paper or walls. This technique involves shaping figures during studio sessions by tearing sheets of paper through an accidental, spontaneous gesture, using nothing but glue to assemble the pieces.

TRACK AUDIO DETAILS

Original texts, along with citations and adaptations drawn from:
Claudia Losi
Éveline Lot-Falck,
I riti di caccia dei popoli siberiani, Adelphi 2018
Roberto Calasso,
Il cacciatore celeste, Adelphi 2016
Cormac McCarthy,
La strada, Einaudi 2007; Stella maris, Einaudi 2023
David George Haskell,
Suoni fragili e selvaggi, Einaudi 2023

Voices:
Chiara Bersani
Vittoria Fanelli
Judy Jaqueline Jacanamejoy Chicunque
Gjyli Leka
Claudia Losi
Inesa Martsinkevich
Simone Rega

 

“For as long as I can remember, if I have a piece of paper in my hands and I can’t draw or write—and especially if I’m listening to someone speak—I just can’t help myself: I tear the paper, and based on that first rip, that first irregular line, I imagine a shape. I envision animal or plant forms, human animals hybridized with the manifold variations of the living and non-living, or fantastical beings that bring everything together—and I proceed by tearing and shaping silhouettes. This is how figures with jagged profiles are born: stylized, improperly proportioned, and always unique depending on the type of paper. A variation of pareidolia.” CL