Vergani, Fellipe


1 Channel Video 14’50’, B&W
32 C-Prints Varied Dimensions

“The situation of the conflicts considering the recent and ongoing war with the Donetsk People’s Republic (some of the conflicts started in Kramatorsk), were confirmed to be far away (more than 30km) form where the residency would take place. “
Not knowing exactly what to expect, the time spent there was an intense exchange of philosophy, politics and art practices with the locals and with each other, where many times the exhibition itself had the smallest importance.
In the end a few works came out of this powerful time, together with an extreme sensation of know-nothingness about post Soviet mentality, Russian-Ukrainian relations and the role of contemporary art in such damaged environments.
One of the most present feelings during this time there, was the animosity to what recalls the USSR. A big effort has been made also by the authorities to get rid of monuments and political influence from what connects to that period of time. Leaving to the future to tell whatever the outcome of the so called “Decommunization” will be, I made a few images on the topic. In this example, this plinth used to support a Lenin figure, the new symbol is a digital rendering.


1 Channel Video 14’22’’, Found Objects, Photography

The second work to come out of the Norwegian surroundings in 2017 has an amazing course of development. It outsets in an abandoned house nearby a shore of the Norwegian Sea in Møre og Romsdal region. Among the objects forgotten in the house, some exhibited traces of wealth, age and historical importance.
The project “There Was a Man” grows from the research on the identity and life episodes of the former owner and dweller of this house. Studying and examining how this persons life is interlaced with its country, and world’s history was a intense and deeply emotional journey for me.
For the exhibition Cultural Memory In The Present I purposed a multifaceted reconstruction of a part of this history, that mainly plays on the scape of this man from Norway to Shetland (Scotland) through the Shetland Bus route, during the German invasion and occupation of the country at the WWII; and on his return to his homeland as a trained pilot, to fight for the Allied Forces. The installation also examines how this story had at many times points of convergence with my own as a temporary inhabitant of the region.


1 of 3 Full HD videos. 14’15”; Color

with: Ida Schmutz, Maike Messer (collaborators)

Welcome to the first world, announce big yellow Arial letters, above a 1,35 meters deep blue ocean – inviting you to dive after a long day of work. Security from Terror is granted within, pure cleanness in the shallow-rooted jungle of life welcomes you as well. Hetzbricz State, a state in a constant love and hate relationship with itself and with the citizens outside.
Hetzbricz researches along the fine borders between authenticity and touristic illusion. It’s a multi-channel documentary about a fictional civilization; it’s constructed with real interviews, speeches and film-footage from a tropical theme park, that actually exists in East Germany, and it’s afflicted surrounding.
The standardization of work, leisure and relaxation times, predetermined by a business model of a placebo-like oversea experience, and it’s potential consequences on people’s political judgment and health conditions.
Each of the three artists taking part in this project made a different video in between the same guidelines and concept, and when it was shown in the Erratum Galerie in Berlin, each of us were responsible for presenting all the three works in a different set up/room, experimenting with authorship and how the external factors of a exhibition space also influence how you watch the same work – sitting down – standing, headphones – open audio, multi-channel – single- channel and so on.
The room I prepared was an allusion to a Travel agency, with propagandas and folders inviting and promoting our fiction state.


Digital HD Video, 8’30” FULL HD Professional Projector

A mapped video installation where a collage of a meal, playing and connecting with the way we started consuming entertainment, specifically videos in the last decade. The instant Youtube celebrity, the reinvention of music video-clips, a new powerful platform for advertising, a channel for politicians to connect with a younger audience not so interested anymore in TV and Radio and last but not least the -never before seen- easy and widespread accessibility to all kinds of pornography, all being consumed and dancing together, fast, very comic. The video was projected from top to bottom on a white table with white plates where each video was mapped exactly on the plates, giving a really interesting effect of plate screens, while another layer of construction workers and tools sit on the table with its tools and fix/eat the meal.
The work was shown in a group exhibition called Konsens Der Erscheinung in Leipzig in 2014



Function.Anomy. Rathaus-Galerie Reinickendorf, Berlin, DE 2019
Diffusions, Kramatorsk Art Museum, Mariupol Art Museum Kuindzhi, Kramatorsk, Ukraine 2018 Mariupol, Ukraine 2019
Suoja Shelter Убежище, Vapaan Taiteen Tila, Helsinki, Finland 2018
ID – Cultural Memory in The Present, Galerie der HGB Leipzig, DE 2017
Voice of Doxa, Glogauair – Berlin Art Week, Berlin, DE 2017
Me You We Do, Grassi Museum, Leipzig, DE 2017


Leipziger Buchmesse, Palmas Kramatorsk, Leipzig, Germany 2019
The Video Art Club, ПОМБО, Leyden Gallery, London, England 2018
Screening der Medienwerkstatt, ПОМБО, Berufsverband Bildender Künstler Kulturwerk Berlin, DE 2017
Loop Festival, Weird Wired World, Barcelona, Spain 2016


Can Serrat, Fully Funded, El Bruc, Spain 2016
National Center for Contemporary Arts, Fully Funded, St. Petersburg, Russia 2016


ZONA DYNAMIC – Berlin / International
Project based collective organizing collaborative laboratories, exhibitions and digital media experimentations with focus on conceptual art. Won the Auszeichnung künstlerischer Projekträume und initiativen prize in Berlin 2017.