I waited a few months before contacting Mattia, the main reason was the logistics. I thought the train journey would take a long time, then I found out that there was a direct train that lasted about 5 hours.

Mattia, starting from Udine, came to Alessandro and I and we spent 4 days together sharing the house, the table, the shootings, the ideas and Art in all its forms.

An imprecise and dynamic world emerges from his abstract works, where, very often, the fractal is one of the protagonists. An accomplished musician and digital artist, this was something I really enjoyed after several years of playing bass.

At dinner, the first day that Mattia was with us, he asked me: "How about black nail polish?”

A punk touch in my shot would have been perfect and so I found myself giving a manicure to a person I had known for a few hours.

The music, the imperfect forms, the fractals led me to choose, as the location for the set, a former agricultural consortium from the last century which will be transformed next year into the Library of the DMI - Dictionary of Music in Italy.

The conductor of the Orchestra Claudio Paradiso opened the doors for us and led us into a musical archive that seemed infinite to us. Beyond the archive, a second space, as large as the first, with three naves, empty.

That was the place chosen, a place where Mattia left his marks while I tried to immortalize everything by freezing space and time.

There were mannequins in a corner piled up and destined to die. We collected a few of their plastic hands and from that moment Mattia, grasping one of the many, cites me with one of his surreal phrases "Do you want a hand?"

I have to confess, I really like it and every time I think about it I laugh!

Print Size: cm 65,2 x 47,5 - inches 25,6 x 18,7


Sara Aliscioni



Sara has been dedicating herself to photography and photographic calligraphy since 2006. She matured the artistic matrix from her father, musician and composer, who led her to explore not only the world of theater, to which she dedicated herself for several years both as an interpreter as a stage photographer, but also of music, studying classical music theory and playing bass for several years, as well as cinema, influenced by the Centro Sperimentale di Cinematografia where her father worked as a sound engineer.

In addition to the various courses on photographic techniques and workshops dedicated to travel reportage, he attended the training promoted by the MoMA on photography as a means of individual artistic expression, as a technique for exploring and documenting the reality as well as a tool for communication and criticism of society and our culture. Subsequently, driven by an interest in history that draws on photojournalism as a primary source, she followed the course on the use of images, films and their historical interpretation in the 20th century with the University of London & Royal Holloway.

Among the activities followed, Sara has curated various photographic backstage works, the last of these at the Macro Museum in Rome. After having increased her knowledge, she has also matured her style thanks to the continuous and daily training of the artist Alessandro Bavari.

United by photography as an expression of art, as well as by their personal bond, together they created the book Kill the Covid! a rural horror photographic mockumentary set in Italy, faithful to their artistic, visionary and provocative style.


The photographic choice oriented towards Reportage and Street Photography, features strictly black and white calligraphy. Inspired by the language of the Hungarian director Béla Tarr, Sara Aliscioni offers images made of symbolism, drama and poetry in an objective but at the same time sentimental interpretation, describing the harsh reality that sees man at its center in familiar and everyday contexts. The common thread is always the search for beauty even when what surrounds the subject is decadent, dark and forgotten.



Extended Editorial


Library of the DMI, Dictionary of Italian Latin Music,Latina ,Italy


Mattia Cuttini




Sara Aliscioni








Extended Editorial

Can be used to display privately, or in commercial and non-commercial settings, or in groups with an unlimited number of participants. The license includes unlimited use and display in virtual or physical galleries, documentaries, and essays by the NFT holder. Provides no rights to create commercial merchandise, commercial distribution, or derivative works.

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