learner, gatherer, keeper
based in Berlin
co-founder and curator at Palazzo Bronzo
learner, gatherer, keeper
based in Berlin
co-founder and curator at Palazzo Bronzo
-u/-dys
P.L., Franco Ferrari, Alessandro Queirolo
Curatorial project
2025
P.L., Franco Ferrari, Alessandro Queirolo
Curatorial project
2025
u-/dys- is a curatorial project by Pietro Lugaro, Franco Ferrari, and Alessandro Queirolo, developed within the 2024 open call program “Palazzo Bronzo Is Looking for Projects.” Palazzo Bronzo is an artist-run space and artistic-curatorial collective based in Genoa, operating between studio practice, exhibition making, and spatial experimentation, with a long-term engagement with the city’s historical and creole context.
u-/dys- is an exhibition project that examines contemporary forms of psychogeography and schizogeography as tools to read the current condition of space. Born in the 1950s within Guy Debord’s Situationist International, psychogeography described an aesthetic and political practice aimed at exploring the relationship between urban space, behavior, and affect. Through the dérive and the détournement, it sought to free the city from functional planning and return it to a collective, sensorial dimension, where space becomes an emotional map in constant transformation.
Over time, these tools have shifted. What once functioned as a poetic and emancipatory practice has become a contested field. As shown by Eyal Weizman in Hollow Land, spatial theories developed by the avant-garde have been absorbed by military and political power. The 2002 operation in Nablus, described as a “reverse geometry,” marks a turning point: movement no longer follows space, but produces it. The imperative “from now on we will walk through walls” signals an inversion in which freedom turns into a technique of occupation, an invisible management of access, thresholds, and perception.
u-/dys- is positioned inside this contradiction. Unlike the physical geographies of Debord or Matta-Clark, the exhibition manifests primarily as an immaterial environment. Screens, videos, interfaces, and digital archives construct a topology of images and data, reflecting how space today is experienced through mediation, distance, and abstraction. The exhibition speaks about space while operating inside its dematerialization.
Each work addresses the dynamics of control, observation, and spatial construction in different ways. ASMA by Moreno Hebling develops a form of schizo-geography based on dérives using maps of other cities, producing emotional and political distortions of orientation. Anton Ripon’s Site Drawing. From GPS Tracking to Architecture exposes the geopolitical layer embedded in satellite technologies, translating bodily movement into spatial data. Potato Project by Eva Pedroza and Paul Wiersbinski presents the potato as a symbol of memory, exchange, and colonial history through an open archive of notes and sketches. Cairn T by Pól McLernon merges archaeology, physics, and sound research, focusing on resonance and its perceptual effects. Elsa Muller’s Urban Sad Stories and Fly Intransitive reflect on solitude, perception, and digital observation through video. HRO’s Military Everywhere maps infrastructures and strategic choke points, while Dorian Geneste’s works use videogame logic and archival material to question philosophy, ideology, and authority.
u-/dys- is an exhibition project that examines contemporary forms of psychogeography and schizogeography as tools to read the current condition of space. Born in the 1950s within Guy Debord’s Situationist International, psychogeography described an aesthetic and political practice aimed at exploring the relationship between urban space, behavior, and affect. Through the dérive and the détournement, it sought to free the city from functional planning and return it to a collective, sensorial dimension, where space becomes an emotional map in constant transformation.
Over time, these tools have shifted. What once functioned as a poetic and emancipatory practice has become a contested field. As shown by Eyal Weizman in Hollow Land, spatial theories developed by the avant-garde have been absorbed by military and political power. The 2002 operation in Nablus, described as a “reverse geometry,” marks a turning point: movement no longer follows space, but produces it. The imperative “from now on we will walk through walls” signals an inversion in which freedom turns into a technique of occupation, an invisible management of access, thresholds, and perception.
u-/dys- is positioned inside this contradiction. Unlike the physical geographies of Debord or Matta-Clark, the exhibition manifests primarily as an immaterial environment. Screens, videos, interfaces, and digital archives construct a topology of images and data, reflecting how space today is experienced through mediation, distance, and abstraction. The exhibition speaks about space while operating inside its dematerialization.
Each work addresses the dynamics of control, observation, and spatial construction in different ways. ASMA by Moreno Hebling develops a form of schizo-geography based on dérives using maps of other cities, producing emotional and political distortions of orientation. Anton Ripon’s Site Drawing. From GPS Tracking to Architecture exposes the geopolitical layer embedded in satellite technologies, translating bodily movement into spatial data. Potato Project by Eva Pedroza and Paul Wiersbinski presents the potato as a symbol of memory, exchange, and colonial history through an open archive of notes and sketches. Cairn T by Pól McLernon merges archaeology, physics, and sound research, focusing on resonance and its perceptual effects. Elsa Muller’s Urban Sad Stories and Fly Intransitive reflect on solitude, perception, and digital observation through video. HRO’s Military Everywhere maps infrastructures and strategic choke points, while Dorian Geneste’s works use videogame logic and archival material to question philosophy, ideology, and authority.