Valentina Vetturi

Performance, Sound, Text & New Media

Story & Practices

At the origin of her works, there are extended research processes, performative in nature, and immersive experiences in heterogeneous worlds (hacker culture, law, music, …). Outcome range from a theatre scene to the daily task of writing on a commuter train, from a sound composition to a spoken symphony, from a publication or a video to an environmental sculpture.

Valentina is at ease with employing disparate registers and disciplines. Collaborates closely with performers, such as dancers, chess players, choir singers, orchestra directors, sound engineers, all actively involved in the making of each project. Vetturi refers to her works as a “guided improvisation” responding to space and the public.


With La Pendolare (2010)

she tested the palindrome condition of commuter for a week, eight hours a day, on a tram with a typewriter.

With Orchestra. Studio #2 (2012/ ongoing)

seven orchestra conductors perform in a circle the same piece without orchestra.

With La Mossa di Ettore (2014/ongoing)

she invited two great chess master to play a game introducing a new chess move dedicated
to physicist Ettore Majorana.

With Alzheimer Café (2014/ ongoing)

she dedicated a series of performances, public interventions, and sculptures to “musical
memories”: the last fragments of personal memory that persist in our mind.

With her last body of works, I Never Think of the Future. It Comes Soon Enough (2016/ ongoing)

related to internet technologies and nourished by a research on hacker culture (2015/ongoing) and a Master of Science in Digital Currencies (2019) - she reflects on digital memory and the digitalization of our lives.

With the video Paper Remembers (2020)

Valentina begun a research on the material and symbolic value of papier-mâché and its capability to retain or lose its shape.

These researches led her to Tails (2023)

a performative and sonic landscape of digital, geopolitical, environmental entanglement reconstructing, with papier-mâché, on a scale of 1:2000, all the fiber optic cables submerged in the depths of our seas.

With her last work, “La Matematica del Segreto” (2023-ongoing)

she delves into the concept of money and its unortodox stories. The video series redefines the lecture-performance format, creating an intricate dialogue between human expertise and generative artificial intelligence.

Valentina Vetturi’s works have been shown in collective and personal exhibitions in public and private spaces, including: Lagos Biennial, Niger (2024); MA*GA GallarateItaly; Spazio Murat, Bari,Italy (2023); MAXXI Museum L’Aquila & Arium Metaverse; MA*GA Museum, Gallarate (MI); Castromediano Museum, Lecce, Italy; , MACTE Museum, Termoli; Municipal Theater of Bologna _MAMBO Museum, Italy (2020); Noorlandsoperan & BildMuseet, Umea, Sweden (2018);  Zegna Foundation, Turin, Italy (2017); Quadrenniale 16, Rome, Italy; Strauhof, Zurich, Switzerland; Italian Cultural Institute, Stockholm (2016); MACRO Museum, Rome, Italy (2015); MAXXI Museum, Rome, Italy; Kunsthalle Göppingen, Germany;, Bucharest, Romania (2014); Swiss Institute of Rome, Italy (2013); Sandretto Re Rebaudengo Foundation, Turin, Italy; Viafarini, Milan, Italy (2012).

Vetturi is also active in the field of transmitting artistic knowledge through lectures and workshops, hosted in educational and cultural institutions internationally. She teaches Theory & Technics of Performing Arts at LABA Academy of Fine Arts, Brescia .