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lero____

@lero____

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i'm lero :)
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☀️ by @lero____

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4 months ago

by @lero____

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5 months ago

🪜 🪜 taken in Chicago, IL by @lero____

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5 months ago

🫧🏝️🦩🐟 taken in Euroflora by @lero____

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a year ago

🧢🧃 taken in Marrakech, Morocco by @lero____

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a year ago

“Scented Remnants: Crystallized Scars of Shifting Landscapes“ reflects on the Apulian territory transformed by Xylella fastidiosa. As olive groves fade, new crops like avocado emerge, reshaping land and memory. Using resin to preserve and charcoal to transform, fragments of bark and seeds become gestures of resilience where art, ecology, and politics intertwine in new narratives of regeneration.

The project was part of the exhibition “Plants and Politics” produced by ENSP and ISIA Urbino during the opening week of “Les Rencontres d’Arles”.

Supervisors:
Silvana Amato @silvana__amato
Ludovic Burel @laboratoirefermentation
Matteo Guidi @matteoguidi._
Jonathan Pierini @jonathanpierini
Lionel Genre taken in Arles, France by @lero____

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a year ago

🕯️ Superstizioni di confine — Presentazione del libro
📅 Giovedì 28 agosto, ore 20:00
📍 Retroscena — Ceglie Messapica

Incantesimi, memorie contadine, gesti dimenticati e qualche nota sul campo.
L’antropologo Gabriele Arcano presenta il suo ultimo lavoro di ricerca tra superstizione, archivio e immaginario popolare.

Un’occasione per ascoltare storie che (forse) avete già sentito, ma mai così.
Vi aspettiamo! taken in Céglie Messápica, Puglia, Italy by @lero____

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a year ago

XIII. La festa degli innocenti: La prosa dell’asino

tnx @_eugenioschirone_ taken in Céglie Messápica, Puglia, Italy by @lero____

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a year ago

Leaving @labiennale with mixed feelings:
Unpredictable Atmosphere won’t be shown in its entirety. The wires of our ceiling screen—an interactive video piece about weather and predictive models, designed and approved to be suspended—were cut the night before the opening.

I was part of a young architects’ grant, a beautiful Biennale initiative supporting eight under-30s. After a year-long process, the project was approved in January 2025. Together with an incredible team, we built a physical, web-interactive piece as agreed with the curators.

72 hours before the opening, I was told the screen height had to change. This meant reworking the entire system. I was advised to replace six months of interactive work with a screen-recorded video.

48 hours before, we were denied the original setup and told we’d need a different projector lens. The curator refused to provide one. I was told I could rent it—for €6,000.

24 hours before, after several attempts from the curator to minimize and hide the screen, I was informed that the only way to “save” the piece was to remove it during all pre-opening days—press, previews, vernissage—and possibly reinstall it afterward.

3 am 07/05, with the patient AV team, we cut the wires and let the projection fall to the floor.

I’m still waiting for a formal explanation. So far, only vague references to “last-minute curatorial adjustments,” while informal ones point to sponsor preferences and irrational curatorial decisions.

The piece remains this way—as a quiet witness to what it went through under @crassociati ’s curation.

This is the gap between @labiennale supporting young designers and a curatorial process that was draining, dismissive, and ultimately deeply disrespectful, placing people in powerless positions after months of work.

Still, I couldn’t be prouder of the research and visual work we developed with the team—especially the incredible work of @richipetrini in building a beautifully complex web piece, now waiting in a folder for a more respectful outlet.

Thanks to everyone who passed through the robots room during installation days to support <3 by @lero____

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a year ago

Formiche giudiziose nasce con l’intento di esaminare il concetto di strumenti di controllo, creando cortocircuiti che stimolino una riflessione sull’individuo. Il supermercato, visto come metafora di cambiamento, è un luogo che scrive e definisce una formula, seguita da un preciso schema comportamentale. Lo stesso schema che ci definisce come società massificata.

Riflettiamo sul metodo. Riflettiamo sul modo in cui la tecnologia è capace di di prevedere e disciplinare il comportamento umano.

In collaborazione con:
Istituto Storico LUCE (@istituto_luce )

Sound design:
Marco Elia (@fuckinetty )
Lorenzo Urgesi aka LERO (@lero____ )

Supervisione:
Alessandro Carrer
Milo Adami

Il progetto è stato esposto a:
Archivio Aperto (@archivioaperto )
23.10-27.10
Ex Chiesa di San Mattia, Bologna

Per vedere il progetto completo segui il link in BIO! by @lero____

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2 years ago

Bereka [Repairing]

Bereka [Repairing] is a project born from the author’s deep fascination with coffee, which historically has strong ties to colonialism. Over time, coffee has evolved into a vehicle of stories, symbols, and cultural meanings, influencing one of our most common daily rituals. The project is built upon the Ethiopian and Eritrean coffee ceremony, which is traditionally divided into three distinct phases: AWEL, KALE’I, and BEREKA. These phases represent different temporal and symbolic moments of the ceremony.

The project unfolds in three acts:

First and Second Acts: These are research and fieldwork stages, where the author immerses himself in the coffee ceremony, understanding the process and participating in the ritual. These acts serve as preparatory phases, filled with observation and experience.

Third Act: The core of the project takes shape here, when a Jabena (a traditional Ethiopian and Eritrean coffee pot) becomes central. The accidental breaking of the Jabena during the earlier acts represents a turning point. In this final phase, the author revisits the original site of the first two acts to perform the ceremony again, now incorporating the act of “repairing” the broken Jabena.

The essence of the third act lies in this repair—a shared, fluid, and performative process aimed at restoring what has been broken. Through this act, barriers are metaphorically broken down, and boundaries are moved, emphasizing the collective and transformative power of performance and ritual in creating something functional or meaningful, even from what has been damaged.

The project was part of the exhibition “Pratiche di Posizionamento”, held at Villa Romana @villaromanaflorenz in Firenze from 12.07.24 to 12.08.24.

Additionally, the exhibition catalog has been published by @corrainiedizioni under the title “Pratiche di Posizionamento”.

Supervisors:
Luca Capuano @lucacapuano__
Alessandro Carrer @alessandro_carrer313
Matteo Guidi @matteoguidi._
Armin Linke @arminlinkeofficial

A special thanks to the people of @spintimelabs , especially Asli and Maurita, who always welcomed me and were available for a coffee at any moment.

Italy, 2022-2024 taken in SPIN TIME LABS by @lero____

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2 years ago

Series #2 from “Incomplete Itinerary”

Starting from 1945, and throughout the economic boom, the territory of the Ambrosian diocese and its surroundings have been enriched with churches—just in Milan, more than 300 were built. During that historical period, spaces became an expression of experimentation by renowned architects.

#2 Sant’Ireneo

The Church of Saint Irenaeus (Sant’Ireneo), located in Cesano Boscone near Milan, is a notable example of contemporary religious architecture. Designed by architect Mauro Galantino, it was one of the winning projects of the 1989 “Three Churches for the Year 2000” competition, organized by the Diocese of Milan. Construction took place between 1997 and 2000.

The church features a minimalist design with a focus on simplicity and functionality, using materials like exposed concrete and brick. It is composed of two distinct volumes: one that integrates with the urban context and the needs of the city, and another dedicated to the liturgical space. The layout places the congregation around the altar, reflecting the post-Vatican II emphasis on community and participation.

The church is particularly notable for its use of natural light, which enters through various openings and large windows, creating a dynamic interaction between light and space. This design element, along with symbolic features like the fountain of water and a garden of olive trees, adds to the spiritual atmosphere of the church.

The elevated square in front of the church serves as both a meeting place and a space of transition before entering the sacred area, while the separate bell tower emphasizes the importance of verticality and presence in the landscape. Sant’Ireneo is a modern interpretation of a sacred space, blending architectural innovation with traditional religious symbolism.

Supervisor: Alberto Sinigaglia @albsinigaglia

Cesano Boscone, 2023 taken in Chiesa S. Ireneo Cesano Boscone by @lero____

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2 years ago