with Alice Visentin, Andrea Nacciarriti, Andrea d’Amore, Barena Bianca, Benedetta Fioravanti, Bianca Zueneli, Confluenze, Diletta Bellotti, Eliza Goldox, Furtherset, Giorgia Agnese Cereda, Kosmonaut, Oliviero Fiorenzi, Pietro Librizzi, Ricardo Aleodor Venturi, Silvia Mantellini Faieta

curated by Marche Arte Viva (Matteo Binci, Giacomo Pigliapoco, Bianca Sophia Shroeder)

26-28 August 2022, San Lorenzo in Campo / Pergola (PU) - Marche, Italy

come fare acqua | oil on linen | 4 parts polyptyc (55x70x3 cm each) | 2022 

Inspired by the research film Facciamo il Bosco by Eliza Collin (2020), the sequence of four paintings explores how to 'entice' water to linger when it rains. When the rain visits us, having more trees it is possible to convey the water underground, thanks to the cushioning of the foliage and then of the undergrowth, gradually feeding the aquifers by dripping: without vegetation the water falls downstream and is lost / causes floods, fueling landslide problems. The paintings have the sequentiality of a graphic algorithm, a simplified instruction that can recall an indigenous didacticism.





Osama Alrayyan + Lula Broglio + Pietro Librizzi
curated by Lisa Lurati and Giada Olivotto
Sonnenstube Offspace | Lugano, Switzerland | 29 January – 23 February 2022





a project with Jacopo Belloni, Beatrice Favaretto, Giorgia Garzilli and Diego Gualandris
promoted by RomaCulture with Azienda Speciale PALAEXPO

Sala Santa Rita, Roma | 5 - 12 October 2021

Clamor was a practice in use in the Middle Ages in monasteries and churches. During particular moments of crisis the sacred icons were placed on the ground and beaten. This violent manifestation did not have an iconoclastic purpose but served to instigate the image to release its supernatural power. The aura of the icon was activated not by a contemplative state but by an action of bodies. The same practice can be found in other popular events, such as the carnival, in which decorative and scenographic elements are produced with the aim of being subsequently destroyed collectively. In contemporary times the rage rooms or “rooms of anger” are particular places where you can let off steam by destroying all the consumer goods inside. A sculptural group in papier-mâché inhabited the space, a sort of decomposed exoskeleton, containing sweets inside. Visitors were invited to join the collective ritual, with the opportunity to destroy the works exhibited.


video extract https://youtu.be/YAk6nPvyY14




with Anouk Chambaz, Giulia Mangoni and James Hillman

Castro dei Volsci, FR | September 2021  

Inside the municipal council hall of Castro dei Volsci (FR) with James, Anouk and Giulia, we experimented and approved the idea of hanging the 'Primordial Italic Landscape' - the landscape of a pre-Roman, pre-Greek Italy and pre-volscia, similar to the vast expanses of the Americas, where rivers were large and navigable and boats dug from logs - juxtaposed to a large black and white photograph of the village, already present in the room. Together they perhaps make us think of the long bridge that is history, which stretches between the primordial settlement on the Castro promontory and its current stage crystallized by the photograph.



Palazzo Show

with Elke Marhöfer and Michail Lylov

Palazzo Messineo, Petralia Soprana |August 2021






with Josè Angelino, Daniela Maria Geraci & Elena Lo Presti, Silvia Giambrone, Lily Lavorato, Timo Performativo

curated by Gaia Bobò and Daniela Maria Geraci, produced by viaraffineria (Maria Vittoria Di Sabatino and Giulia Caruso). With a text by Gaia Bobò

viaraffineria, Catania | 30 July - 11 August 2021  

VIVAVUCI è un progetto espositivo che riflette sui processi di trasmissione vocale come veicoli di identità immateriali, estensione di un istinto antropologico volto alla sopravvivenza di pratiche e credenze condivise.







curated by _x_x_x_.ch

via delle Sette Chiese, Garbatella Vecchia| Roma | December 2020 - ???




All In Green Went My Love Riding

curated by Jean Feline, Adam Glibbery and Elinor Stanley

Giardino dello Zuccaro | Calle dello Zuccaro 410 ‐ Venezia | 9 ‐ 18 May 2019
With Eliza Collin
Iron pipes, wood, ecological adhesive, pigments, marbled plastic, tung oil, lavender oil
128 x 110 x 56 cm

'Whilst making Life Cycles we realised we were producing more complicated forms of waste which drew our attention to the leftovers of art making. For our next show we decided to try and use all of this waste within a new work, neatly sealing it within an object which would be both artistic and functional. We aimed to find sustainable/non damaging alternatives to popular materials in art practice such as polyester resin and marble.
In connection to its destination as an outdoor sculpture, we produced a functional bench, modelled from the Garden of Novitiates in the Benedictine monastery of Catania, a place of many historical layers from Roman to Baroque cultures. Revisiting the Italian technique of Terrazzo, we fixed our faux marble offcuts from Life Cycles with Kerakoll sustainable building tile cement onto a frame of recycled metal and wood, finishing the bench with natural tung oil as waterproofing. Firstly exhibited in ‘All In Green Went My Love Riding’ at Giardino dello Zuccaro in May 2019, the bench is now being hosted by Associazione ABOUT.'




Life Cycles

Eliza Collin and Pietro Librizzi

Light Eye Mind | 176 Blackstock Road, N5 1HA London | 21 - 28 March 2019


Light Eye Mind presents Life Cycles, an exhibition by Eliza Collin and Pietro Librizzi featuring works made with repurposed effects from a family house. The exhibition is correlated with the foundation of ‘casapiena microcentro’, an independent art centre in a small town of Sicily, being transformed from private residence to public space.

All of the items on show suggest new luxury objects and alternatives to the destructive production process that tradition needs. Centerpiece are imitative marble inlays, produced from plastic tiles whose entire production of gathering, chipping, melting, pressing, tracing, cutting and mounting happened in the same place. Mined from genealogical and architectural depths, the works depict landscapes with animals present since prehistoric times and now dominating into the human world: the plastic used to depict these scenes was perhaps once the scenes in the flesh.

Accompanying the inlays are other works fabricated whilst making room for the evolution of the house, notably a collection of garments, Giovanna, made with tights, skirts and underwear. Through a desire to make clothing without buying untraceable materials, and whilst clearing through abandoned closets at ‘casapiena’, finding garments made from traditional high grade materials yet in old and unflattering designs. Eliza decided to repurpose these pieces and seek new market life for them.

During the exhibition, three encounters recreated some attitudes followed by the artists towards found material in respect to their previous affective life: Soap Carving, 'Tight' Dress Making, a discussion on sustainability in art practice and a screening of Archivio Illegibile report, exploring the making of the first exhibition at ‘casapiena’ which dealt with belongings over generations, domestic archaeology and collective knowledge-making.

Light Eye Mind





'Archivio Illegibile'

Eliza Collin, Pietro Librizzi and Daniel Tebano

casapiena microcentro | via san Giacomo 9 Petralia Soprana (PA) | 20 April - 5 May 2018


'casapienamicrocentro' presents Archivio Illegibile, an exhibition of objects that failed to be read during the cleaning of the rooms in Casapiena. These objects bear histories that have been lost with the people that accumulated them over their lifetimes, offering a dialogue between the speculations of their new audience.

video report of the exhibition here



Sitting Amongst

Gaia Di Lorenzo and Pietro Librizzi

Jupiter Woods | 61 Rollins street, SE15 1EP| 20 August - 9 September 2018



“Table conviviality is loaded with a variety of feelings. The objects immediately close to us relate and affect our emotions

 relate and affect, relate and affect them again:

 forks spoons cherry tomatoes tablecloth glasses dishes creamy-bottoms-to draw-on fartsounds-of-chairs

 spillages-more-paintings breadcrumb-wars and sculptures globular

 rectangular circular solids sounds of metal crystal and wood spits of hotness Too hot mum!

 Damn I told you! chewed balls of un-desire.”


From the 20 August - 9 September, Jupiter Woods invites artists Gaia Di Lorenzo and Pietro Librizzi to take over the gallery space and develop their long-standing dialogue. Works and materials will be brought together and presented in response to Italo Calvino’s Italian Folktales, read to them both as children by their mothers. Disparate items will be considered in relation to one another: materials, references, elements of architecture and narratives will combine to form a whole, in accordance with their shared logic. This process of gathering becomes the lens through which the text and its traditions are perceived and scrutinised: a history that unifies, divides, and now calls for new meanings. 

Consuming meals is the common denominator for both the subject of the works (the tales) and for the process (collaboration). People sitting at the table appear in almost every tale of Calvino’s book, as an essential and unavoidable thematic thread. Table time is a supernatural equaliser between characters: not only between people sitting around a table, but also between human being and nature, between the one who harvests, the one who cooks, and the one who eats.

Taking this as a mutual resource for their works, the artists will build a table to be placed at the centre of the gallery space: this will bring together elements of their past works, personal belongings and materials as found objects. The table was the central element for a first gathering on the 28th of August: a planned dinner during which guests were invited to bring a food or object close to them, encased then in the table by liquid sugar after. 

Following the first event, this mutual process of making unfolded until the 5th September, when the material result of the dialogue and contamination between their practices opens its doors to the public for five days.


Text by Carolina Ongaro | Jupiter Woods 





Lily German, Pietro Librizzi, Will Narby, Amy Steel

SOHO takeover gallery | 48 Poland St, W1F 7ND | 18-20 October 2017


“Renzo was walking so I approached him, eager to share a dream I had about his work. I told him that I had seen the tip of the Shard, filled with earth and buried inside it; a bottle cap was. I imagined lying the Shard down across the river, like a bridge and calculating its length in order to find out where the tip of it would land. Once I found the location on a map, I decided to walk there. When I got there I started to dig, to my surprise I found a bottle cap buried in the ground exactly. When I finished, Piano smiled and invited me into his house"





will try to love you all

solo exhibition

LARA | unit 28 penarth centre | 30 penarth street SE15 1TR | 14-16 June 2017








group exhibition

the Benevolent Association of Excellent Solutions | 8 Kingfisher square SE8 | 6-9 April 2017



more info






trio exhibition with Liam Hughes and Yuki Nishimura

the Deptford Project | 1 Octavius Street SE8 London | 18-20 November 2016







Canning Time - part of Art Licks Weekend 2016

group exhibition - curated by TheLivingRoom

El Cheap’Ou discount store | 75 Deptford High Street, London | 1-2 October 2016


more info                                                                                                                              





Stuff at Large

theatrical group exhibition

LIMBO LIMBO, unit 5 Latona Road SE15 London | 10-18 March 2016


more info






group exhibition

Hilly Fields park SE4 London | 20 September 2015


more video




A possibility

group exhibition

Faircharm Creekside, Deptford | 6 February 2014