Texts
“In the future imagined by Lorenzo Oggiano in Cinematic Environment #2 and #8, there are no humans or bodies. There are just biological packages in this critique of the “classical anthropocentric/humanistic conceptions of life.” Oggiano explains the Quasi-Objects series as “informed by a systemic, holistic approach to life sciences, and therefore strongly driven by a multidisciplinary, nonhierarchical, nonlinear vision of living systems…” Life forms and systems are denatured and restructured. Oggiano used the synthetic and combinatory genesis of computer-generated imagery (CGI) as an operative advantage, replacing optically centered procedures with abstract morphogenic ones.”
Madeline Schwartzman – Artist, Architect, Writer, Curator and Faculty member at Parsons School of Design & Barnard College, NYC
“(…) despite the fact that we can define the Quasi-Objects in their artificiality as products of numerical calculus, they still have a seductive yet disconcerting effect on us. From the grotesque excrescences, dark folds, pistils like piliferous bulbs, exaggeratingly fast growth of the sharp rose-coloured thorns and superfluous forms multiplying at a terrific rate, we can instantly sense a vitality of which we have no biological/scientific knowledge. We can only but accept the existence of these hybrid bodies, expressed through everyday means of communication: they enact corporeality at new levels of intensity that we are already experiencing. As Baudrillard said only a few years ago:’today, it is the real that has become the alibi of the model, in a world controlled by the principle of simulation. And, paradoxically, it is the real that has become our true Utopia – but a Utopia that is no longer in the realm of the possible, that can only be dreamt of as one would dream of a lost object (…)”
Claudia Attimonelli – Independent Art Critic and Curator
“Gelling photographic and videographic materials via a 3D modelling tactic, Lorenzo Oggiano’s Quasi Objects series of prints and videos presents a set of synthetic organic landscapes and microscopic biological particle simulations. The added surface noise, those glitches, grains & flecks found on aged celluloid have been superimposed to give an impression of a labtech documentary aesthetic. The concepts of cellular division, morphogenesis, evolution and creationism are implied, here however they are the product of digital collage & generative grammar (…) wonderful video compositions.”
Paul Prudence – Writer, AV Performer, and Installation Artist
“(…) Le teorie della relatività ristretta e generale elaborate da Albert Einstein, l’interpretazione probabilistica e antideterminista della meccanica quantistica e l’incipiente Teoria delle Stringhe hanno rivoluzionato completamente la concezione dell’universo con eterogenee implicazioni nelle differenti discipline scientifiche ed in quelle umanistiche, tali da ripensare completamente la strutturazione dei codici fondamentali della natura. Il percorso artistico di Lorenzo Oggiano si è protratto contro ogni metafisica dell’essere, contro ogni idealismo di perfezione e compiutezza, contro tutte le ipotesi di costituzione genetica create da pregiudizi storici, orientandosi verso una complessità irriducibile che tiene conto della vocazione alla complementarietà insita nella dinamica irrefrenabile del cammino umano, un processo costante costellato da sforzi pioneristici (…)”
Piero Pala – Independent Art Critic and Curator
“(…) Lorenzo Oggiano’s Environmental Monitoring System is a speculative thinking of the unexplored or unobserved reverberations of a different life, which makes visible the vulnerable encounter between variable living forms—be they organic or synthetic, proto-molecules or after- humans. His algorithmic generation and modulation of matter complicates what we determine as life, to the point that in our visual observation, we need to imagine the speculative future of living matter, to observe—in thought—the unpredictable and unknowable conditions through which living forms endure. From a perceptual environment to a contingent situation and the program of a new life— one that is radically denaturalized. This can help us to expand the definition or completely abandon the idea of ‘subjectivity:’ within new forms of embodiment, radically inhuman programs, non- organic or multi-organic codes—and always with the unbearable yet hope that we are to become something that we are not. (…)”
Sabin Bors – Independent Curator and Editor
“(…) Lorenzo Oggiano (…) a développé sa réflexion et écrit une thèse sur les intéractions qu’entretiennent l’art contemporain et les nouvelles technologies: le corps de la mutation. C’est en utilisant les nouvelles technologies de créations numériques, notamment la 3D qu’il développe depuis les années 90 sa recherche plastique et théorique basées sur la biologie, les sciences cognitives et sensorielles. Il crée des environnements sensoriels où l’image synthétique, le trucage, la manipulation deviennent réel. Le travail d’Oggiano s’illustre dans un monde macroscopique, celui de la biologie cellulaire. Son corpus de série intitulé Quasi-Objects commencé en 2003 et toujours actuel est un projet se composant de vidéos 3D et d’impressions dans lesquelles il re-dessine l’Organique. Il modifie la structure originelle des éléments organiques, les reorganise et leurs fait subir des mutations. (…)
Lutin Onspeed – Chef de Projet Collapsemag
“(…) A monito di una società, quella contemporanea, che sembra quasi aver paura di adottare gli ibridi e i diversi, di pensare la mescolanza e la mediazione, di abbandonarsi alla proliferazione di quelle entità miste prefigurate da Latour, i Quasi-Objects di Oggiano appaiono come retaggi romantici di un tempo ancora là da venire, come creature bellissime fino a ieri nascoste nel buio dei nostri limiti tecnologici ed estetici, ma oggi splendenti nel loro processo di sintesi digitale, finalmente libere da qualsiasi riferimento al reale conosciuto, alla veridicità dell’esistente, figlie di un futuro ancora da immaginare (…)”
Marco Mancuso – Critic and Curator. Founder and Director of the Digicult platform. Professor at NABA and IED, Milan
“(…) Media artists understand digital images as material for inventing new imagery and therefore can be shaped, visualised and experienced dependent on medial contexts. It is not the point to fake or imitate but the becoming and visualising of artistic world creations which pick up existing procedures and techniques (which already exist in digitally produced feature films (e.g. Lord of the Rings), video clips, cartoons and also in everyday coverage as commercials) – and which are used unconventionally on the one hand. On the other hand they are thematically questioned anew in many different ways. In Lorenzo Oggiano’s work Quasi Objects the question arises, to what extent matters of science such as medicine (which are shown to us through modern imaging methods as models in computer animations) can connect with our emotions and fears. Because of its medial representation the beholder is alarmed by what Oggiano shows. The mutating objects threaten us because we associate them with images from medicine (e.g. images of viruses) (…)”
Prof. Dr. Manfred Blohm – Essayist and Professor in the Department of Art and Visual Media at the University of Flensburg
“(…) Un costante rifiorire di materia cellulare, catene sovrapposte di corolle bianco latte che si schiudono lucide, pronte a muoversi, sospese come tante cupole, come interi reticolati di calici e pistilli. Forme vigili concepite per accogliere, avvolgere e per testimoniare tutto, tutto il reale che si trova loro intorno (…) ogni ambiente di Oggiano è una metamorfosi ritratta in stasi. L’artista, lavorando in bilico tra l’infinitamente piccolo e l’infinitamente grande, crea un fuori che deve tramutarsi in un dentro. Guardare queste serre avvolge gli occhi in un guscio di benessere ipnotico, attraverso il quale si entra in relazione con un luogo di contemplazione. Un altrove veicolo di quella esperienza estetica che conduce alla percezione dell’esistenza attraverso i sensi (…)”
Ginevra Bria – Independent Art Critic and Curator
“(…) With his Quasi-Objects series Oggiano uses videos and pictures to construct microcosmical environments. The final visual product is balanced between two opposite dimensions of being. On one side the object of that particular microcosm built by algorithms lack the organic life. On the other side, since we can see them, they exist. Oggiano creates impossible worlds in the real space, which are feasible by seeing and hearing. These worlds are inhabitated by things that do not correspond to substance, but to the software’s calculation. They cannot be carried out in our daily life. Nevertheless they exist since we can see their movements and evolutions. As their title suggest they are ‘almost’ objects and that adverb denies any empirical dimension. Obviously when we see them there is a relationship between us as the perceiving subject and the perceived object. But these works are not mere aesthetic manifestations or hedonistic declarations of technical virtuosity. This is not something virtual. Virtual is something that is in potency, and cannot be perceived concretely and empirically. Here this world is firmly apparent but it simply shows itself by different laws from those of the organic materials. This is not a possibile nature in the future, but a different possible life.”
Emanuela Pezzetta – Independent Art Critic and Curator
“(…) Seppur partendo da una base profondamente razionale e rigidamente calcolata di una nuova realtà iperreale, le opere di Oggiano mantengono (…) un potenziale rifiuto della rappresentazione stessa per una messa in discussione del criterio stesso di somiglianza. E’ un immaginario che conduce inevitabilmente a quel valore olistico dell’immagine, a quelle ”differenze” quale trapasso continuo delle forme secondo un eccitazione virtuale dell’immagine che non troverà mai un appagamento.”
Enrico Piras, Alessandro Sau – Artists and Curators
“(…) micromondi, perfetti, lontanissimi, sospesi nel tempo, abitati da (quasi)oggetti che, sebbene al di là delle categorie umano/non umano, naturale/artificiale, in qualche maniera ci riguardano. Spore, tentacoli, ciglia si allungano verso lo spettatore, galleggiano in uno spazio indefinito. La vita e i suoi sviluppi sono prodotto del calcolo, processi sintetizzati con l’utililizzo di sofisticati software di modellazione e animazione 3d. (…) La ricerca di Lorenzo Oggiano parte dalla vita, dalla ineluttabilità dei suoi mutamenti: le sue opere riguardano la probabilità di mondi, la classificazione di (nostre) possibili evoluzioni con attenzione critica alle tecniche e ai percorsi della ricerca scientifica contemporanea.”
Roberta Gucci Cantarini – Independent Art Critic and Curator
“(…) Oggiano mescola oggettivismo e soggettivismo. L’arte non è più espressione o impressione, ma costruzione e progettazione di nuove forme che esistono e non esistono nello stesso tempo. Idealmente vicini alle tradizionali nature morte, i quasi-oggetti digitali alludono a quella nuova realtà sorgente che abbastanza presto intersecherà la propria direttrice con quella del mondo reale. Allora forse si produrrà uno scontro in cui anche l’oggetto, dopo il soggetto moderno, entrerà in crisi identitaria (…)”
Nicola Davide Angerame – Independent Art Critic and Curator
“(…) Language art might be approaching a threshold that is physical (as in Jenny Holzer’s installations), quasi-organic (as in Lorenzo Oggiano’s Quasi-Objects), and database generative (as in Zeitguised techniques). These vectors converge from high art, AI, and motion graphics. The transformative potential of digital media operates at the interstice of disciplines. (…) Lorenzo Oggiano’s Quasi-Objects (2003-) are time-based sculptural quasi-object videos which derive their existential complexity from code. (…) Oggiano makes morph objects generated entirely in CGI, responsive blob organisms that bloom to glitch soundtracks. Oggiano grows his video Quasi-Objects from state machines following laminar Perlin-speckled L-system entrails. Lichen or algae filled tidal pools with shallow depth-of-field and glitch audio synchronous with spatial change. These are Phong-gleaming abstract sculptures adrift in particle soup. Imagine that in some hypothetical thread of the multiverse, Quasi-Objects fuse with real sculpted letterform objects. In that hypothetical future, Jenny Holzer will be recognized as a key figure in the evolution of dimensional poetic objects. Her Times-Square-style interventions sprout as LED curves from walls or wash over floors in waves. Her constrained immediately-identifiable aesthetic navigates a tension between propaganda and intimacy. By extruding language in retro tech (LED low-resolution displays) Holzer plays with advertising’s narcissist chase after the next and newest, subverting its presence by postulating a world where words flow as ubiquitously and visibly as a (toxic?) rain. Imagine Oggiano’s Quasi-Objects made physical letterforms from which Holzer made installations out of metamorphic alloys, and you have probably imagined a shot with similarities to a Zeitguised video.(…) In a hybrid hypothetical future, letterforms physicalize, enhanced with digital meta-data, their embodied entity-status preceded by many generations of living in close symbiotic contact with images. (…)”
David Jhave Johnston – Poet, Videographer, Motion Graphics Artist and Researcher at the Center for Digital Narrative at the University of Bergen
“(…) la materializzazione nell’immagine di forme primordiali, dalle superfici neutre, traslucide, immerse in uno spazio surreale in cui esplodono i colori, in grado di trascinare l’osservatore in una dimensione sensoriale sinestetica, quasi allucinatoria (…)”
Stefania Biamonti – Journalist
“The Lorenzo Oggiano Quasi-Objects portrait series features highly conceptual photographs that are a part of the artist’s highly experimental process. (…) Quasi-Objects takes inspiration from the production of biological organisms and ecosystems. Because they are so arbitrary and non-specific, these dynamic images aim to challenge the boundaries of human perception. Representative of the uncertainty of life, these pieces are often difficult to describe at first glance. From melting bubble forms to organic cell-like captures, the Lorenzo Oggiano Quasi-Objects portrait series is visually intriguing with images that stand apart from the crowd while paving the way for inspiration and encouraging the use of unconventional materials when creating memorable art.”
Jana Pijak – Editor, Trend Hunter Magazine
“(…) the work of Oggiano not only showed how the mnesic processes are based on the recording of traces on a medium – whether cerebral or film -; but above all they elaborated a new model of self representation that demonstrates how complex and difficult the actual process of memory analysis and recovery is. (…)”
Alice Autelitano – Writer, Researcher and Educator
“(…) Mesmerized by these quasi-creatures, the spectator’s gaze cannot leave the screen, where disturbances, interferences, and stripes make the display even more realistic. Electronic buzzing and popping sounds, a hint of voices in the background, complete the scene. Oggiano’s Quasi-Objects were already remarkable creations. Seeing them living is another, recommended, experience.”
Matteo Bachetti – Astrophysicist
“Lorenzo Oggiano’s project Quasi-Objects is esoteric but fascinating. (…) This work sits in a largely untested region, where art and science begin to overlap, where both subjective and objective study are equally acceptable epistemic modes. (…)”
Harry Warwick – Editor, Fused Magazine
About
Bio
Lorenzo Oggiano (b. 1964, Padua) is an Italian interdisciplinary artist, primarily working in new media, video, video installation, and photography. He holds an MA cum laude in Visual Arts from the University of Bologna / D.A.M.S., with a thesis exploring the relationship between art and new technologies.
His works have been exhibited in museums, galleries, and art spaces in Italy and internationally, including: Pratt Manhattan Gallery, Ars Electronica Center, Cinémathèque Française, Eyebeam Art+Technology Center, National Museum/WRO Art Center, Naturhistorisches Museum Wien, Centro per l’Arte Contemporanea Luigi Pecci, Kunsthaus Dresden, Hong Kong Space Museum, Palazzo dei Congressi in Rome, CCCB, Art-Science Node Berlin, MAN, Cartes Centre of Art and Technology, Museo Nacional Reina Sofía, and Museo Nazionale del Cinema in Turin—and are featured in public and private collections.
Lorenzo Oggiano currently lives and works in Sassari, Italy.
Statement
Lorenzo Oggiano works with both digital and traditional artistic techniques. Since the mid-2000s, he has favored 3D software and creative programming to generate art prints, videos, and video installations.
Oggiano dedicated his artistic and theoretical research to the concepts of nature and life, questioning the relationships between technologies, registers of rationality, production of subjectivity, and cosmologies. His focus includes the morphology and dynamics of organisms and ecosystems, the concept of space, and space-time interrelations.
He began exploring photography and drawing at young age. After completing his academic training, he entered a period of study and research focused on adopting a transdisciplinary and cross-media approach to artistic production. He then dedicated himself to experimenting with various techniques and materials, creating pictorial interventions on previously elaborated plotter-printed photographs and assemblages made with found photos, wood, fabrics, leather, glass, wax, foam rubber, and pigments. A phase of exploration culminated in the 2003 Sample-Kit project, which served both technically—by bringing together assembly techniques, analog photography, and digital processing—and theoretically—by anticipating themes that would become central in his subsequent works—serving as a junction point that marked the beginning of his ongoing artistic research path within a defined technical approach and a more articulated theoretical framework.
The first studies for the Quasi-Objects cycle—indicating the artist’s earliest use of 3D techniques—date back to 2003.
Completed in 2013, the cycle consists of ten videos and over one hundred prints, studies, and preparatory drawings. 3D modeling and animation techniques are used to simulate organisms and ecosystems conceived as transient outputs of a practice of “organic re-design.”
Since 2006, the artist has abandoned the chemical photography process in favor of independently producing prints with pigment inks on archival-quality paper—considered the standard by museums and art galleries—thus gaining complete control over the production of his art prints and ensuring a significant improvement in both quality and longevity.
From this period, Oggiano intensifies his exhibition activities and begins collaborations with artists, publishing houses, and record labels, enhancing his artistic production by broadening concepts, techniques, and stylistic solutions.
Among the several projects he has created in the last two decades, alongside the previously mentioned Quasi-Objects cycle, it is worth noting: Sound Generated Video Modules for Single Channel Output (Video Installation and Fine Art Prints, 2007)—two sound-generated AV modules conceived to perform sound-generated visual data as pure dynamic abstraction; Polymorphic Systems Studies (Fine Art Prints, 2012-2015)—two series of photorealistic 3D rendering studies that explore and visualize polymorphic synth-organisms, bio-tools, and bio-machines; Environmental Monitoring System (Video Installation, Fine Art Prints, and Plotted Prints, 2016)—a 4-channel AV installation conceived as a simulation of a multi-camera monitoring system designed to document the real-time dynamics of four complex ecosystems: a further reflection on the statute of synthetic imagery; t.SPACEs (UV Prints, 2017)—a series of large-format prints investigating the notion of topological space; Untitled Sculpture (3D Printed Sculpture, 2018)—an AP medium-sized sculpture printed with a Delta WASP 60100 and finished with a bi-component epoxy resin, a plastic anchoring primer, a water-based titanium white spray pigment, and a glossy water-based anti-UV acrylic varnish; Micrographies / Photomicrographies (Fine Art Prints, 2020)—a set of 3D-generated prints designed to mimic the observation of the morphologies and dynamics of microorganisms, cells, and molecules through a microscope; Postnatural History Footage (Videos, 2021-2022)—an ongoing series of video works that simulate short scientific-naturalistic videos and films from the 1900s; User-Driven Particle System Variations (Fine Art Prints, 2023)—twelve visionary abstract landscapes generated through a customized, user-assisted particle system generation program.
Since 2021, Lorenzo Oggiano has become actively involved in the NFT market on the Tezos blockchain, primarily as a collector. As a creator, he has produced six limited-edition works, which are now available on the secondary market.
Currently, he is developing new works using his previously mentioned preferred techniques (mainly intended for the traditional art market), along with a series created with a custom AI image generator. This series, currently in the post-production phase, will be minted in the coming months.
Selected Exhibitions, Events, Festivals, and Art Fairs
• One more time with feeling – The Wrong Biennale, Alicante, Spain, 2021/2022
• Ibrida. Festival delle Arti Intermediali – Forlì, Italy, 2020
• In Absentia – Digital pavilion at The Wrong Biennale, 2020
• Trondheim International Biennale for Art & Technology – ‘Meta.Morf X / Digital Wild’ exhibition, Trondheim kunstmuseum Gråmølna, Trondheim, Norway, 2020
• FIVA 09 – Festival Internacional de Videoarte, Centro Cultural San Martín, Buenos Aires, Argentina, 2019
• Mock Jungle, DAS – Dispositivo Arti Sperimentali, Bologna, Italy, 2019
• Art Innovation, Art & Technology in the future – International Symposium & Exhibition, Kyoto University, Conference Room Higashi Ichijokan, Kyoto, Japan, 2019
• See Yourself E(x)ist – Pratt Manhattan Gallery, New York City, U.S.A., 2018/2019
• Environmental Monitoring System @ Montecristo Project – Mediterranean Sea, Italy, 2017 (Solo)Patchlab International Digital Art Festival, Krakow, Poland, 2017
• Athens Digital Arts Festival (ADAF), PostFuture Journey – Athens International Airport ‘Eleftherios Venizelos’, Athens, Greece, 2017
• Segovia European Film Festival – Museo Esteban Vicente (MUCES), Segovia, Spain, 2016
• Patchlab International Digital Art Festival – Krakow, Poland, 2016
• Bio-Fiction Hong-Kong, Microwave International Media Art Festival – Lecture Hall, Hong Kong Space Museum, Hong Kong, China, 2016
• Bio-Fiction Barcelona, Human+ The future of our species – CCCB, Barcelona, Spain, 2016
• Madatac International Festival of Contemporary Audio-Visual & New Media Art / Art for a Quantum of Time – [Award, Best Video Art Work], CentroCentro Palacio de Cibeles, Madrid, Spain, 2016
• Bio-Fiction Poznan, Capture the Future(s) Evolution – UAM University, Faculty of Biology, Poznan, Poland, 2015
• 7th Cairo Video Art&Experimental Film Festival – French Institute, Cairo, Egypt, 2015
• FILE Electronic Language International Festival/The new e-motion, Anima+ – C.C. FIESP, São Paulo, Brazil, 2015
• Future Perfect – Rialto Sant’Ambrogio, Rome, Italy, 2015
• Bio-Fiction Berlin, Capture the Future(s), Art Science Node, Berlin, Germany, 2015
• Bio-Fiction Linz – Ars Electronica Center, Linz, Austria, 2014
• Bio-Fiction, Science Art Film Festival – Naturhistorisches Museum/Bellaria Cinema, Vienna, Austria, 2014
• Zielona Sciezka/Natura-Sztuka-Technologia – WRO Art Center, Media Library Curatorial Program, Wroclaw, Poland, 2014
• Design Beyond Making – Protein Gallery /18 Hewett Street, London, U.K., 2013
• Drift: Synthesis – TTC Screens Network, Toronto, Canada, 2013
• Imagem-Contato – Mostra de Imagem em Movimento, Sao Paulo, Brazil, 2012
• Caratteri Ereditari e Mutazioni Genetiche – MAN_Museo d’Arte Provincia di Nuoro, Nuoro, Italy, 2012
• Flussi New Media Arts Festival – Belvedere Teatro Carlo Gesualdo, Avellino, Italy, 2011
• Bio-Fiction, Synthetic Biology Science, Art and Film Festival – Naturhistorisches Museum, Vienna, Austria, 2011
• Minimalelectro im Festsaal Kreuzberg, Bergsaal Kreuzhein – Berlin, Germany, 2011
• Videoformes on Tour – Espace Beaujon, Paris, France – The Cleveland Institute of Art, Cleveland, U.S.A. – Hors D’Oeuvre, Shangai, China, 2010
• Pandemonio Visuale. Italian Experimental Cinema – Mostra del cinema d’artista italiano dalle origini del futurismo al nuovo millennio, Cinemazzurro, Ancona, Italy, 2009
• Eter(n)otopìe, Recent Works 2002-2009, Settimana della Fotografia Europea, ReVolt#09: Eternaluce – Reggio Emilia, Italy, 2009 (Solo)
• Palinsesti 2009, Licof, Scenari artistici dell’Alto Adriatico – San Vito al Tagliamento (PN), Italy, 2009
• ArtVerona, Fair of Modern and Contemporary Art – Fair Center, Verona, Italy, 2009
• Tecnobiologìe – Traffic Gallery Contemporary Art, Bergamo, Italy, 2009 (Solo)
• Between Earth and Sky – Sadali (CA), Italy, 2009
• MiArt, International Art Fair, – Fiera Milano City, Milan, Italy, 2009
• Video Screening – Cartes Centre of Art and Technology, Espoon, Finland, 2009
• Directors Lounge 09 – Kunsthaus Tacheles, Berlin, Germany, 2009
• 3rd Beijing Independent Film Festival – Songzhuang Art Center, Songzhuang – Beijing, China, 2008
• Quasi-Objects B/W – Rebecca Container Gallery, Genova, Italy, 2008 (Solo)
• De Rerum Digitalis, Festival della Creatività – Fortezza da Basso, Firenze, Italy, 2008
• Taide ’08, Helsinki Contemporary Art Fair – Wanna Satama, Helsinki, Finland, 2008
• Lorenzo Oggiano: Selected Video Works 2004-2008 / Opening Night Party Special Screening, ViewFest – Museo Nazionale del Cinema, Sala Massimo + King Kong Microplex, Torino, Italy, 2008 (Solo)
• Contemporary Art Ruhr 08 – KunstQuadrate, Essen, Germany, 2008
• La Nuit Blanche – Instituto Cervantes, Paris, France, 2008
• 1 Minute Suite Top Ten – Centro per l’Arte Contemporanea Luigi Pecci, Prato, Italy, 2008
• KunStart08, Contemporary Art Fair – Bolzano Fair Exhibition Center, Bozen, Italy, 2008
• Digital Media Valencia – La Nau, Valencia, Spain, 2008
• Cartes Flux3, Perception, Time, Subject – Cartes Centre of Art and Technology, Espoon, Finland, 2008
• Videoformes, Prix de la Crèation Vidèo – Clermont-Ferrand, France, 2008
• BAF Bergamo Arte Fiera 2008 – Bergamo Fair Center, Bergamo, Italy, 2008
• Quasi-Objects – Traffic Gallery Contemporary Art – Bergamo, Italy, 2008 (Solo)
• Directors Lounge – Kunsthaus Tacheles, Berlin, Germany, 2008
• Optica – International Videoart Festival, Gijon, Spain, 2007
• VideominutoPopTV, New Italian Wave/One Minute Suite – Centro per l’Arte Contemporanea Luigi Pecci, Prato, Italy, 2007
• Art-Athina International Art Fair, Kataskevi Project – Helexpo Exhibition and Conference Center, Athens, Greece, 2007
• WRO07 International Media Art Biennale – National Museum + WRO Art Center, Wroclav, Poland, 2007
• Kinofest – National Museum of Contemporary Art (MNAC), Bucharest, Romania, 2007
• Festival Némo – Le Cube, Issy-les-Moulineaux, France, 2007
• Selected Videos 2004-2007 – Dissonanze 7, Aula Magna, Palazzo dei Congressi, Rome, Italy, 2007 (Solo)
• Athens Video Art Festival – Technopolis, Athens, Greece, 2007
• Cartes Flux Vol.2 – Cartes Centre of Art and Technology, Espoon, Finland, 2007
• Directors Lounge 2007 – Directors Lounge, Berlin, Germany, 2007
• CYNETart06, Humane, 10th International Festival for Computer-Based Art – [Special Recognition], Trans-Media-Akademie Hellerau, Kunsthaus Dresden, Dresden, Germany, 2006
• ArtTechMedia – Arco06, Madrid – Museo Nacional Centro de Arte Reina Sofia, Madrid – CCCB, Barcelona – other venues, Spain, 2006
• Hybridation/Heredite I. Le cinéma expérimental contemporain et les nouvelles technologies selon Johanna Vaude – Cinémathèque Française, Paris, France, 2006
• Premio Internazionale di Videoarte Biennale Adriatica Arti Nuove – S. Benedetto del Tronto (AN), Italy, 2006
• Interferenze, Naturalis Electronica – San Martino Val Caudina (AV), Italy, 2006
• Imaginaria Independent Film Festival – Chiostro S. Benedetto, Conversano (BA), Italy, 2006
• Panorama Screening Series: Living Culture. A look at the relationship between biotechnology and artistic practices – Eyebeam, New York, U.S.A., 2006
• Images Contre nature – Lices, Marseille, France, 2006
• Darklight Film Festival – Filmbase, Dublin, Ireland, 2006
• MAF Thailand New Media Arts Festival, Live and Retrospective – Bangkok, Thailand, 2006
• Figures of Motion, Internationale Videokunst – Schloss Plüschow, Plüschow, Germany, 2006
• Videoformes – La Jetèe, Clermont-Ferrand, France, 2006
• Cartes Flux Vol.1 – Cartes Centre of Art and Technology, Espoon, Finland, 2006
• Directors Lounge 2006 – Directors Lounge, Berlin, Germany, 2006
• Cartes Flux, First Flux – Cartes Centre of Art and Technology, Espoo, Finland, 2005
• VAD Video and Digital Arts International Festivals – Casa de Cultura, Girona, Spain, 2005
• Unimovie – Museo Vittoria Colonna, Pescara / Museo-Laboratorio ex-manifattura tabacchi, Città Sant’Angelo (PE), Italy, 2005
• Electrofringe New media Arts Festival 2005 – Playhouse Theatre, Newcastle, Australia, 2005
• Media Art Friesland festival – Leeuwarden, Netherlands, 2005
• Imaginaria Independent Film Festival – Chiostro S. Benedetto, Conversano (BA), Italy, 2005
• European Media Art Festival (EMAF) – Lagerhalle, Großer Saal, Osnabrück, Germany, 2005
• Today in Paradise. Genetics & Art – Röda Sten, Gotheborg, Sweden, 2005
• Thailand New Media Arts Festival (MAF), Intimacy/Digital Skin – Bed Supper Club, Bangkok, Thailand, 2005
• Spark Video 4.4 – Spark Contemporary Art Space, Syracuse, NY, U.S.A., 2005
• Premio Internazionale Dino Villani Linguaggi e tecniche della contemporaneità nell’arte e nella comunicazione – Galleria del Premio, Suzzara (MN), Italy, 2004
• International Videoart – Galerìa Rosa Santos, València, Spain, 2004
• VAIA 3rd International Video Art Show of Alcoi – official selection, Alcoi, Spain, 2004
• International Festival of New Film and New Media – Split, Croatia, 2004
• Australian International Festival of Photography – Global Gallery Exhibition Centre, Sydney, Australia, 2004
• MAD03 2nd international meeting of experimental art in Madrid – Madrid, Spain, 2003
• Biennale Adriatica Arti Nuove, Baan Lab – Mercato Ittico, San Benedetto del Tronto (AN), Italy, 2003
• IDAA International Digital Art Awards – Academy Gallery, University of Tasmania Launceston, Australia – VCA Gallery, University of Melbourne, Melbourne, Australia, 2003
• Immedia03 – School of Art and Design, University of Michigan, Ann Arbor, MI, U.S.A., 2003
Public Collections (Selection)
• Cinémathèque Française – Paris, France
• Centro per l’Arte Contemporanea Luigi Pecci – Prato, Italy
• Eyebeam Art + Technology Center – New York, NY, U.S.A.
• Association Culturelle VideoFormes – Clermont-Ferrand, France
• WRO Art Center – Wroclaw, Poland
• Spark Contemporary Art Space Video Library – Syracuse, NY, U.S.A.
• Directors Lounge Contemporary Art and Media – Berlin, Germany
• EMAF – Osnabrück, Germany
• Vidéothèque P’Silo – Marseille, France
• Cartes Centre of Art and Technology – Espoo, Finland
Selected Bibliography (Catalogues, Reviews, Articles, Interviews)
• Cesare Biasini Selvaggi – Valentino Catricalà, Arte e tecnologia del terzo millennio. Scenari e protagonisti / “Art and Technology inthe Third Millennium. Landscapes and Protagonists (ITA/ENG), Farnesina – I Quaderni della Collezione, Vol. II, Electa, Milan, 2020
• Eline Bjerkan, Teknologiske blindveier, Billedkunst n. 2/2020, Oslo, Norway
• Meta.Morf X – Digital Wild, Trondheim International Biennale for Art and Technology, TEKS.press, Trondheim, Norway, 2020 (catalogue)
• Ecosistemi nel re-design organico di Lorenzo Oggiano, intervista per WASP (www.3dwasp.com – a cura di Andrea Nurcis), April 2019
• Käthe Wenzel – Manfred Blohm, HalfLife. Maschinen und Organismen, künstlerische Positionen für eine Gegenwart von Klimawandel und Artensterben / Machines and Organisms, Artistic Positions in Times of Climate Change and Extinction (DE/ENG), Fabrico Verlag, Hannover, Germany, 2018
• Environmental Monitoring System @ Montecristo Project, Cagliari, Italy, 2018 (catalogue)
• Madeline Schwartzman, See Yourself X – Human Futures Expanded, Black Dog Press Limited, London, U.K., 2018
• Lorenzo Oggiano, TRP-21 n.02 / Arte Digital, Facultad de Arquitectura, diseño y urbanismo de la Universidad de Buenos Aires, Argentina, 2015
• Trend 2015, TCDC Digital Resource, Thailand Creative & Design Center, Thailand, 2015
• More about Quasi-Objects, Quote the Future. The nordic vision of tomorrow – www.quotethefuture.com, July 2014 (interview – by Sara Ingemann Holm-Nielsen)
• Dominic Pettman, Look at the Bunny. Totem, Taboo, Technology, Zero Books, John Hunt Publishing, U.K., 2013
• Luca Panaro, Arte in 3D, esplorazioni di una disciplina., Flash Art, n. 309, 2013
• Trend Report / Macro Trend: Reality and digital collide, Computer Arts Collection n.5 / Photography, 2012
• Bianca Wendt – Lorenzo Oggiano, Plastic Measures, Viewpoint, n.30, 2012
• Alice Aurelitano (curated by), The Cinematic Experience. Film, Contemporary Art, Museum, Campanotto Editore, Udine, Italy, 2010
• Piero Pala, Lorenzo Oggiano. Suhteellisuus ja hybridi Quasi-Objektien elokuvallisina tekijöinä, Taide Design, n.7, Espoon, Finland, 2010
• Emanuela Pezzetta (curated by), Palinsesti / Licôf, Forum Editrice Università Udinese, Udine, Italy, 2009 (catalogue)
• Luca Beatrice, L’isola che non c’era, Arte, n.431, 2009
• Claudia Bernareggi, Lorenzo Oggiano, Espoarte Contemporay Art, n.59, 2009
• Cartes Flux3. Perception, Time, Subject., Cartes Centre of Art & Technology, Espoo, Finland, 2008 (catalogue)
• Stephen Danzig, The Vernacular Terrain. Internationl Digital Art projects, Red Box Studio, Sydney, Australia, 2008 (catalogue)
• Simone Arcagni, Come la tecnologia della visione puó diventare occasione artistica, Nova 24, June 5, Milan, 2008
• Talent / Digital, Kult magazine, n.5, Rome, 2008
• Stefania Biamonti, Vite Artificiali, Il Fotografo, n.190, Milan, 2008
• Quasi-Objects, Traffic Gallery, Bergamo, Italy, 2008 (catalogue)
• Quasi Objects project by Lorenzo Oggiano, Digimag, n.29, 2007 – www.digicult.it (interview – by Bertram Niessen)
• Videominuto PopTV2007, Centro per l’Arte Contemporanea Luigi Pecci, Prato, Italy, 2007 (catalogue)
• 12th International Media Art Biennale WRO 07, Wroclaw, Poland, 2007 (catalogue)
• Cartes Flux vol. 2, Cartes Centre of Art and Technology, Espoo, Finland, 2007 (catalogue)
• CYNETart_06humane – 10. Internationales Festival für computergestützte Kunst, Festspielhaus Hellerau / Kunsthaus Dresden – Trans-Media-Akademie Hellerau e V., Dresden, Germany, 2006 (catalogue)
• Manfred Blohm, Texte zur Medienkunst, Flensburg University Press, Flensburg, Germany, 2006
• Darklight Festival, Irish Film Istitute / Filmbase, Dublin, Ireland, 2006 (catalogue)
• Simonetta Castia, I Quasi Objects di Lorenzo Oggiano. Bambole e new media, Plico, n. 10, Sassari, 2006
• Cartes Flux vol. 1, Cartes Centre of Art and Technology, Espoo, Finland, 2006 (catalogue)
• VAIA 2005 – IV. Mostra de video art internacional d’Alcoi, Alcoi, Spain, 2005 (catalogue)
• Unimovie, Flash Art, n. 254, Milan, 2005
• Media Art Friesland Festival, Leeuwarden / Harlingen / Drachten, Netherland, 2005 (catalogue)
• Imaginaria – III. Festival Internazionale del cinema libero, Conversano (Bari), Italy, 2005 (catalogue)
• EMAF / European Media Art Festival, Osnabrück, Germany, 2005 (catalogue)
• Astrid Von Rosen, Vems paradis talar vi om?, Göteborgsposten, Gothenburg, April 2, 2005
• VAIA 2004 – III. Mostra de video art internacional d’Alcoi, Alcoi, Spain, 2004 (catalogue)
• Laura Chiari, Networking as Artworking, NextExit, n.18, Rome, 2004
• Steve Danzig – W. J. Cosshall, 2003 International Digital Art Awards, Digital Photography + Design Magazine, n. 23, 2003
• Artinuove, 2ennale Adriatica, S. B. del Tronto, Ancona, Italy, 2003 (catalogue)
• Franco Lanfredi (curated by), Web Designer Experiments, Edizioni Sometti, Mantova, Italy, 2003