A Part Remains Outside: Regimes of Tactical Revelation, curated by Giulia Moscheni and Anastasia Pestinova and presented at Fondazione Spazio Vitale from October 10 to 31, 2026, brings together works by Federico Tansella and the collective 0_field, comprising Artem Slesarev and Anastasia Pestinova (chrnzb). Through installations involving sound, technological infrastructures, archival processes, and systems of detection, the exhibition investigates the relationship between surveillance and revelation, questioning the limits of human perception and the conditions under which ordinarily imperceptible phenomena become accessible.
The urban environment is traversed by images, signals, and processes that continuously escape human perception. Even the sky, apparently open and unlimited, marks a boundary between what can be observed and what remains inaccessible. Once associated with the sacred and the transcendent, it has become a space of technological observation and tactical operations. This tension extends to the technological apparatuses through which reality is measured, registered, and interpreted. While expanding the limits of perception, these systems simultaneously establish new thresholds of visibility, transforming the relationship between observation, knowledge, and control. Within this framework, revelation is approached not merely as the disclosure of hidden information, but as an interruption of established perceptual and epistemological structures. Drawing on the theological and apocalyptic dimensions of revelation, the exhibition considers its potential to destabilize ordinary experience and expose the contingency of systems that organize what can be seen, known, and communicated. Rather than promising complete transparency, A Part Remains Outside explores the possibility of tactical interventions within these regimes of mediation.
Federico Tansella’s works investigate the relationship between technological mediation, memory, and the unstable boundaries between presence and disappearance. In Immediatamente, l’eternità (2026), archival footage of the August 1999 solar eclipse in Paris is reassembled into a video installation exploring collective experience, suspension, and the disruption of ordinary temporality. In Perché non c’è mai Nulla (2026), Tansella appropriates pre-existing traces on a gallery wall, declaring them an artwork through an act of authorship that requires no physical intervention. By attributing artistic intention to an already existing condition, the work questions how discourse and institutional framing construct the reality they claim to describe. Il mondo è solo un ricordo (2026) develops a daily cycle of inscription and disappearance: each morning, a phrase is written on a gallery wall, subsequently erased, while a computer program calculates the precise time elapsed since its inscription, reconstructing the temporal record of the previous day. Finally, In realtà c’è sempre silenzio (2026) employs radio reception, electromagnetic interference, and voice transmission to transform signals from military radar systems into spoken communication, opening the apparatus to public participation and questioning the relationship between technological control and collective appropriation.
The collective 0_field presents 45.439/11.004 leakage (2026), a quadraphonic sound installation that maps the city as a reticular organism, traversed by often imperceptible systems of detection. A network of autonomous sensing devices distributed across industrial and infrastructural sites in Verona registers variations in acoustic activity, transmitting numerical data streams in real time to the exhibition space. These data modulate a cybernetic synthesis system, generating sonic events through electromechanical transducers that induce intermittent vibrations in metal surfaces, transforming them into possessed bodies animated by remote presences. The apparatus of detection thus becomes a device of evocation: rather than reinforcing the logic of contemporary surveillance through the capture, transmission, and centralization of data, it gives rise to a system of sonic synthesis whose material manifestations remain unpredictable. Adopting a hacker perspective, the installation reconfigures the functions of technological infrastructures, establishing a feedback circuit in which detection and revelation continuously feed into one another.
Fondazione Spazio Vitale is a non-profit organization founded in Verona in 2024, dedicated to promoting cultural and artistic projects that investigate the relationship between human beings and technology. Through exhibitions, educational activities, and research initiatives, the Foundation fosters a critical and multidisciplinary reflection on how technological evolution influences identity, perception, and the environment. Its mission is to encourage a sustainable and conscious vision of coexistence between the human dimension and technological development, stimulating participation, creativity, and alternative imaginaries.