Pietro Lugaroresearcher, artist, curator
learner, gatherer, keeper
BioCVborn in Genoa
based in Berlin
co-founder and curator at Palazzo Bronzo
byProjectYear
P.L.Ontogeny and Abstraction2025_ongoing
P.L., Sena Doğan, Lilli-Carlotta Grube
Under the Gaze
2025
P.L., Franco Ferrari, Alessandro Queirolo-u/-dys2025
P.L. & Alessandro Mac-Nelly
ACV (Algorithmic Cultural Vandalism)
2024_ongoing
P.L., Engy El-Shenawy
Cuteness2024_ongoing
Palazzo BronzoIperromantico2024
P.L. & Luca Gerry ConteHestia2023
P.L.
Larsen - trying to dig a decent grave
2022
P.L.mefistofeledocumenta (2014-2021)
2021
Revolving Doors, mefistofeledocumenta, Federico ZuraniIl Caro Piotre2021
P.L.
Il giardino dei sentieri che si biforcano
2020
mefistofeledocumentaIl Vuoto al Centro del Monte2020
mefistofeledocumenta
Sidùn
2019
SED_DO
Ref. X/CRQ-081 2041
SED_DO
Ref. X/SHF-902 2040
SED_DO
X/TSL-203 2039
SED_DO
Ref. X/KEC-940 2038-9
SED_DO
Ref. V/PLX-302 2037
SED_DO
Ref. V/GRQ-281 2036
SED_DO
V/KSN-778 2035
SED_DO
V/EAO-541 2034
SED_DO
Ref. V/TUR-444 2033
Colophon
Last Updated
19.01.2026 02:40 AM
This page exists to state the conditions of this website and to give credit for structural inspiration.
And to maybe inspire other people to have a nice colophon on their webpage.
Why this website
I made a couple of crazy wonky weird websites in the past, and it was so easy to produce chaos.
This time, I wanted the opposite: an archive feeling, very clean, very easy to read, very ordered, very simple.
This website is also the thing I send around as an interactive portfolio, as a nicer alternative to a CV, to find jobs (so they can pay for the website), and to participate in open calls for residencies.
But who knows, it might become more chaotic, or interactive, or dense, in the future.
Platform
This website is entirely made on Cargo.
At the moment, there is no coding by me; I’m just using the design tools given by the host.
In fact, I cannot code at all! When I need it, I shamefully just vibe code with the help of AIs like Claude.
Structure
The homepage is built as a list and as an index.
Projects appear as repeated rows with three main fields: author, project, year.
Inside projects, the structure relies on columns and freeform image groupings, so that images work like entries and not like decoration.
References and years are used as navigational anchors.
Content and Use
This website is a portfolio and a working archive.
It is made to be shared quickly, opened quickly, and read without instructions.
Design and Viewing
The design intention is two-fold: archival and legible on one side of the screen, visual and intuitive on the other.
The index page, on the left, is incomplete and filled with pre-compiled text. The choice of leaving the filler text is both stylistic and conceptual: the naked vision of the bureaucratic structure of the archive, its factory-like nature, makes half of this list similar to a series of documents piled on a desk in an insurance adjuster's office. The other half, full of life, observes it from just above.
Font
The primary and only font is Inter, sometimes coloured red.
Some links are classic web 1.0 hypertext blue.
This website is definitely best viewed on a desktop, but I’m slowly working on a mobile version to make it as readable as possible.
Language
(Almost) Everything here is written in English.
Not because it is my natural language, but because English is the present global language (for now).
My mother tongue is Italian, which I love deeply, and in which I think and express myself better and more intuitively than in English.
So, if there are errors, they should be read in this light.
Inspiration
This colophon takes inspiration mostly from Kameelah Janan Rasheed's Colophon. I met this amazing artist, teacher, learner, harvester, seeker during her workshop at KW Berlin in 2024. On that occasion, she also showed me this amazing text-based autopoetic tool, the N+7 Machine.
Favicon
The favicon is the eye of a little medieval “grillo” or fantastic monster, which I met for the first time in the Italian edition of the book Le Moyen Age Fantastique. Antiques and exoticisms in Gothic art, by Jurgis Baltrusaitis; specifically, it can be found, together with other drawn creatures, in the Heures by Therouanne, a so-called illuminated manuscript from the late 11th century. I met this little figure again during the creation of the dataset for my project, Algorithmic Cultural Vandalism.