NERO is an international publishing house devoted to art, criticism and contemporary culture. Founded in Rome in 2004, it publishes artists’ books, catalogs, editions and essays.

NERO explores present and future imaginaries beyond any field of specialization, format or code – as visual arts, music, philosophy, politics, aesthetics or fictional narrations – extensively investigating unconventional perspectives and provocative outlooks to decipher the essence of this ever changing reality.

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Heads of Content:
Valerio Mannucci, Lorenzo Micheli Gigotti

Creative Director:
Francesco de Figueiredo

Editor at large:
Luca Lo Pinto

Editors:
Clara Ciccioni, Carolina Feliziani, Tijana Mamula, Valerio Mattioli, Corrado Melluso

News Editor:
Giulia Crispiani

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Elisa Chieruzzi, Lorenzo Curatola, Lola Giffard-Bouvier

Administration and Production:
Linda Lazzaro

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Davide Francalanci

Recovery Wizard Data Park

A conversation with Francesco Cavaliere

FlyaGo! is the first manifestation of the new saga that Francesco Cavaliere will develop in the coming year with the support of Xing. For now FlyaGo! populates some sites of the park with entities that came from the imaginal writings of Francesco Cavaliere. These figures who speak to us or emit sounds can be encountered in Augmented Reality through a special APP.

Cavaliere’s Gancio Cielo will soon become a book published by Nero.

 

“The gate ajar is a recovery wizard data park in which all the deleted images of your portals have come together to form enameled figures broken by time. Mostly evil creatures that pierce the sky and penetrate the eyez. Did you delete something important? So now you can deal with dem. Who is there, cast the first stone!

.. yes one thing, don’t think you can get away with your lights off. They eat Dezires and cadaver themselves like violent plants. The skin that reveals mosaic muscles and Nastros blood. When you draw your breath, they make the safety of the rings disappear.

You just* have a” (—Francis Knight)

 

If your stories are like communicating vessels which have drawers, which have boxes with treasures and knickknacks, whom do you wish to invite to your treasure hunt?

Hey, well I don’t know, any soul interested in going for a walk. Labyrinthine walks are my favorite thing. At the beginning I wanted these creatures to be evil… to create a sort of collision with the audience. Something appears and you need to run away from it. A mixture of attraction and refraction—discovering, hiding, searching around.

What kind of time do we enter when we listen to your stories? 

Time. mm. Often time does not exist in my stories. It is an element that you perceive just when I’m arranging the punctuation of the plot. In my writings the timing of the verbs are mixed.. the past is present, the present is past.. both times are in the same place at the same time 🙂 a little problem for those who do work with me.

Are there ever coded messages? 

You can say that. But probably there are multiple meanings more than coded words. For sure if you get what I want to say in a specific part you can easily go to the next door. If not you flow around till you don’t see a recognizable entrance. Definitely lots of passwords!

Thinking about the app, wasn’t your world virtual enough? Who are those malefic creatures and where do they land?

Yes I know what you mean but what is virtual and what is not? Do dreams become virtual? Shadows? Just saying—I believe that “The Virtual World” is overused. I understand though, I don’t see it as an obstacle. It is indeed a multiple channel for narrations. You can tell a story in many ways, with an object, a piece of paper, a stone. These creatures are everything you decide to cancel. They are that thing you don’t want to see anymore. I thought  it would be cool to introduce this human weakness into a game.

Gancio Cielo goes from orality to the printed matter, thus I’d like to ask whether you see your stories belonging more to an oral or written tradition? Where do words manifest first on paper or through the voice? 

Both ways, but written words are for sure the first channeling. The pencil is really an antenna.  No need for control. I’m not talking about automatic writings, rather an anticipation of reality. So you have a story and you know somehow where it goes. With the pencil I can go off. I recognize its development  just a few seconds after. The pen is definitely quicker than my mind.  To say it out loud,  it works fine but just if I’m alone. With the audience it is totally different. I need a long preparation if I don’t know where it is gonna end. Gancio Cielo is a mixture of recorded tapes and block notes.

I have this idea that my life was often saved by friends’ book suggestions, so may I ask for a short bibliography for the imagination?

mmm I can say that Rachel Carson The Sea Around Us is the best thing I have encountered lately. Right before that I was reading Domenico Felice Dialoghi all’esca, super funny and dreamy. And with two dear friends from San Diego, David Bohm’s Science Order and Creativity came around a few times.. When it is not pure math Bohm it is just sublime. These are the fresh writings I’m reading now.

 

Francesco Cavaliere is a visual artist, writer and sound producer born in Tuscany, Italy, in 1980. He lives and works between Berlin and Turin. His works are capable of enlivening his listeners' inner states through a polymorphic activity that combines writing, sound, voice, drawing, sculpture, which together stimulate the imagination, undertaking long journeys crossed by ephemeral presences.