Riccardo Giovinetto^IT

Riccardo Giovinetto is an Italian visual and multimedia artist, physicist, and university professor. His work spans audiovisual performance, immersive installations, and algorithmic composition, creating sound-reactive environments where image and audio unfold as interconnected systems.

FEMINA, his first solo project, premiered at Ars Electronica 2023 and has since been shown at L.E.V. Festival, MUTEK Montréal, Videocittà Rome, and Sonica Glasgow, among the others. In January 2026, FEMINA was at the Philharmonie de Paris as part of the closing program of the NEMO Biennale.

His installations have been featured at the NEMO Biennale in Paris, the LINK Festival in Oviedo, and the Museo Santa Maria della Scala in Siena, often drawing on the conceptual foundations of FEMINA — a project exploring grace and the Renaissance gaze that defined it.

Giovinetto is also co-founder of OZMOTIC and teaches Acoustic Physics, Sound Design, and Multimedia Installation in Italy.

Riccardo Giovinetto — H U M I

H U M I is an immersive audiovisual performance exploring the border as a mutable threshold rather than a line of separation — a porous field where territories merge into geographies in continual metamorphosis. A fractured horizon in motion erodes territorial rigidity, opening unstable zones where forms overlap and lose their identities.

High-definition samples from remote regions of the Earth are processed through AI, blending deterministic trajectories with stochastic behavior. Landscapes are not represented but regenerated: arid surfaces liquefy, coastlines fracture and overlap, urban textures dissolve into pulsating matter — producing a continuous cartographic mutation, an imaginary geography suspended between memory and possibility.

Fragments of non-existent dialects and synthetic idioms, built from phonetic residues and field recordings, are quantized and resynthesized until only a faint echo of their origin survives, transformed into pure sound. These sound objects intertwine with sculpted electronic textures, while a quadraphonic composition responds to the images in real time, enveloping the audience in a synesthetic experience.

The work unfolds as a single continuous movement — from particulate constellations condensing into recognizable forms, through liquid metamorphoses and shifts, into a unified configuration. What emerges is a shared aesthetic territory where cultural and spatial differences dissolve into transitory harmony. In H U M I, borders and identities don't delimit — they open a space of relationship where geography is mutable and language is the echo of a place that never existed.