Metamorphoses / Squame

Opening on Friday, 21st April at 16.30
Metamorphoses by Squame – Galleria Del Commercio – Macerata MC
Days: 21/04 > 23/04
Time: Friday 16-22, Saturday 10-13 | 16-20, Sunday 10-13 | 16-20

Metamorphoses is an illustration and comics project in which 16 authors are invited to personally and freely interpret a myth from Ovid’s Metamorphoses. The Metamorphoses is a Latin epic-mythological poem completed in 8 AD, thanks to which several myths of Ancient Greece and Rome became famous.

In our project, each artist picked one of the myths to create a stand-alone comic strip and an illustration. The inspiration is clearly stated to the reader, but the comic can be a portion or a modification of the original myth. The historical context is Greece/Rome, either contemporary or imaginary. The project seeks to re-interpret the classical text as a new work, that is poetic, comic, surreal, ill-fated or sacrilegious… Come and peek the stories of eager deities, elusive nymphs, robots, woods, urban skylines, people taking selfies, beasts and hybrids of all sorts, mixed up together in a Squame mythological hodgepodge!

The comic strips and the illustrations are printed in duplex poster format and published on a collective coloured anthology.

The project will be published in Italian and French.

Artistic Director
Francesca Protopapa, illustrator, graphic designer and founder of the Squame association

WEBSITE metamorphoses-squame

[click on the name of the artist to find out the myth and peek a detail of the illustration]

1. Francesco Guarnaccia • Narcissus et Echo
2. Davide Saraceno  • Minerva et Aracne
3. Pistrice • Cygnus et Leda
4. Tommy Gun Moretti • Apollo et Marsia
5. Marino Neri • Hermaphroditus
6. Andrea Chronopoulos • Pygmalion
7. Anna Deflorian • Latona et Niobe
8. Cristina Portolano • Pan et Syrinx
9. Giulio Castagnaro • Dedalus et Icarus
10. Martoz  • Apollo et Daphne
11. Alessandro Ripane • Sibylla Cumaea
12. Lois • Venus et Adonis
13. AkaB  • Orpheus et Eurydice
14. La Came • Diana et Actaeon
15. Lucio Villani • Cadmo et Armonia
16. Rita Petruccioli • Medea
17. GLORIA PIZZILLI • Apollo et Hyacintus
18. ISABELLA MAZZANTI • Jupiter et Danae
20. Marie-Cécile • Cenis/Ceneo
21. MARCO FILICIO • Driope

typography credits : Nicoló Giacomin


Patrizio dall’Argine – LA SCONOSCIUTA DELLA SENNA (The Unknown Woman of the Seine)

Where: Csa Sisma
When: Saturday, April 22nd at 21,30

Puppetmaster: Patrizio Dall’Argine
Assistant: Veronica Ambrosini
Puppets, costumes: Patrizio Dall’Argine, Dania Bonora

In this show, the public is invited on a journey through the Early Twentieth century Paris. You will start from the Montmartre district, inhabited by dancers and by the stumbling painter Maurice Utrillo, who, for all his life, has painted the streets and the white houses of his neighbourhood. Then, you will go through the Montparnasse district, where everything was possible: it might happen that the art merchant Leopol Zborowski meets the disturbing image of the Unknown Woman of the Seine, a young woman who drowned in the river crossing the city. Later, come the painters Amedeo Modigliani and Chalm Soutine, who, following their dream, try to transform life into an instant of beauty, into a time of art and passion, so different from the time of clocks, of success and failures.

The Unknown Woman of the Seine was a young woman who was found dead by drowning in the river Seine, in Paris, around the year 1886. It was not particularly surprising to find drowned bodies in the Seine, but this young woman, besides being beautiful and nameless, had a faint and enigmatic smile on her face. Her image is known to us because of the plaster cast that someone made, probably before she was placed in a pit. Her death mask is all that is left of her. Are her closed eyes protecting her from having a mystifying and prosaic gaze?


Ryan spring dooley – human flip book

Ryan Spring Dooley Human Flip Book

Galleria del commercio, 21-22-23/04/17

1st show at 17,00

2nd show at 19,00

The creative flow of the stop-motion technique brings thousands of images to intertwine, weaving an intriguing and captivating dimension. A world made of illustrations, painting, stories, prints, collages, sculptures and photographs. Transforming this universe into music with the same impulsive flow is the objective of the audio and video performance by Ryan Spring Dooley. It consists in the screening of a 20-minute film of his, composed of 10.000 images, while he live performs with the saxophone and his voice.


Ryan Spring Dooley aka Marvin Tiberious Crushler

After being a graffiti artist in New York during the 90s, Ryan furthered his experience of street art in Northern Italy at the beginning of the 2000s with Rockbois, a collective of punk muralists. His mural works are a mixture of representational chaos and holy harmony, accompanying him from the Triennale of Milano to the streets of Naples and Rome.

Animani video

We present you the video created at Animani workshop during Ratatà 4


The Tropical Phonographic Institute is an ongoing collection of vinyl records that performs a contortionism between two vowels, from Semba to Samba, skimming by a flock of Cumbias, Coladeras, Soukous, Funanás and ‘all that and a bag a chips’.


Dj Urânio

From the underworld of Porto, Dj Urânio presents a lunatic show full of non-sense techno, circus rave, electro chaabi, chunga beat and electro clown. Ideal for weddings, funerals, christenings and birthday parties.


TERMINAL, via Fonte maggiore 25

Friday 13/04 at 23.30


4 guys from Mexico City, 60s garage rock’n’roll, on the road since 2003. Sabu on guitar looks like the son of Frank Zappa or the Mexican Jimi Hendrix, Kasko on drums and voice is the virtuoso of the quartet, Alonso with his hair and his bass looks very fresh and handsome on stage, and Carlos on the rhythm guitar. gives that extra touch of a sombrero / tequila / jalapeño flavour.

Los Explosivos: irreverence, rock’n’roll, sweat, pure energy!

Considered the best garage group in Mexico and one of the best of their kind ….

The right and needed warm up for Rattan Saturday night party!


SISMA, via Alfieri 8

Saturday 14/04 at 23.00



Ponzio Pilates

“The Pontius Pilates are a pirates’ orchestra,they’re full of explosives, electrosamba adventurers and undisputed dance masters.

The real pirates, however, go to sea looking for answers, and refining themselves. In the spring of 2018, their real first Album, Sukate, will be released, recorded between autumn and winter 2017 in isolation and full immersion in the nature,on the Romagna area countryside.


Terminal, via Fonte Maggiore 25

venerdì 13/04 ore 23.00


Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. It’s a collective under the name BohNoBeh! We decided to ask them a few nosey questions to get you to know them. Enjoy!

Introduce yourself and your work.
‘BohNoBeh!’ is a container of all our ideas.
‘BohNoBeh!’ is the mood accompanying us to the desk for every new project, from the unsteady start, to the temporary disappointments and to the final satisfaction.
‘BohNoBeh!’ is a game.
Our names are Chiara Abastanotti, Erika Lerma, Francesca Bartalucci and Roberta Garzillo.

What is the distinctive trait of your artistic work?
We draw comics and illustrations. We create pins and prints. We love to leave a mark on what we do by seeking personal styles. This is why we prefer to work on anthologies each by herself, cooperating in the editing phase and sometimes collecting them in a series.

How do you get your ideas? What is your source of inspiration?
Our source of inspiration is often the nature surrounding us, some other times it’s what happens to us, and more often the stories told by the places.

Why did you decide to take part in the Ratatà festival?
Ratatà is a place where we hope we can share with other professionals and enthusiasts. We hope to learn and get inspired. We think that it is the right place to see interesting things and to promote our self-production.

Blanca: Martina Tonello&Noemi Vola

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. It’s a collective under the name MaPerò. We decided to ask them a few nosey questions to get you to know them. Enjoy!

Introduce yourself and your work.
There are things that everyone considers wrong and inappropriate. We funded MaPerò because of this feeling of uprising towards the things you’re not supposed to say or do. For what concerns our name, the union of the two conjunctions “ma” and “però”, which both mean “but”, the Accademia della Crusca specifies: “For clarification we can say that the use of both conjunctions “ma però” together is not to be condemned, despite what grammatical traditions and school education affirm.” Dante Alighieri has also used the words “ma però”, and kids do too.

What is the distinctive trait of your artistic work?
In our work, we try to deal with issues that are important to us. We try to do that is a way that’s simple and fun. What we want to do while drawing is to have fun. We enjoy playing by finding new ways to tell a story. For instance, our first volume is composed of a case containing 32 illustrations of daily life objects transformed into other things – so forks become table vehicles, barbeques become clothes dryers.

How do you get your ideas? What is your source of inspiration?
Our work rises from the need to say what we think without having problems. These ideas don’t come from a desk, but they come when strolling down a street, walking the dog, cycling in Bologna.

We care about grammar accused of being incorrect, about things that are just the way they’ve always been, about umbrellas tired of being above our heads, about clouds that are supposed to be in the sky, about square roots that can’t be planted, about Gianni Rodari, Bruno Munari, Leo Lionni, Fischli e Weiss.

Why did you decide to take part in the Ratatà festival?
We like Ratatà festival because it’s the best festival of self-publishing in Italy, because when it rains outside it brings you a warm pasta, and because it has awesome exhibitions.

Interview: Alessandra Oricchio

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. Her name is Alessandra Oricchio. We decided to ask her a few nosey questions to get you to know her. Enjoy!
Introduce yourself and your work.

My name is Alessandra Oricchio (aka Gas) and I don’t consider myself to be an illustrator. I’d rather call myself a careful observer. I collect moments of daily life, I listen to stories of strangers and stories of people that I’ve known forever, and I always do it with curiosity and a desire to learn. I let these stories lay down and then I give them back to whoever borrowed them to me or to whoever sees them, in the form of an illustration.

What if the distinctive trait of your artistic work?

The synthetic line is a constant with my works. However, I’m surprised every time people see an illustration and figure out that it’s mine. I wonder how do they manage.

How do you get your ideas? What is your source of inspiration?

I have ideas every time that I cross people and situations. In those moments, I feel like a sponge – I absorb. I think that life is my biggest source of inspiration. My being thankful to life determines my creations.

Why did you decide to take part in the Ratatà festival?

I decided to take part in the Ratatà festival to live and share with other people an experience that will leave a mark.

Interview: Elena Pagliani

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. Her name is Elena Pagliani. We decided to ask her a few nosey questions to get you to know her. Enjoy!

Hello, my name is Elena Pagliani and I am an illustrator and cartoonist working mainly in Bologna and Modena. I decided to come to Ratatà Festival because it seems lively and varied: there are not just the same old big names, but it ranges from illustration to silk-screen printing and animation, and it brings international artists to Italy, whom I wouldn’t have got to know by myself.

I attended the course of Comics and Illustration at the Academy in Bologna and this helped me to create illustrations for professional fields such as that of the publishing industry.

In particular, my latest book Radiations was created as an improvised illustration, which first became a figure, then a sequence and then a 100-page comic book.

I enjoy outdoing myself and try out new things, both concerning the most recent trends in illustration, and my personal life. Often, it happens that as soon as I finish a long work I start a completely different one, which gives me new impressions, new visual incentives, different techniques, etc.


Yes, absolutely, I’m sure it will be amazing. I can’t wait to check out the several artists that Ratatà has invited as guests (of course after setting up my Radiations exhibition, which will be pretty invasive ahah)


In the short term, I will participate in another comics festival in Milano, the AFA, and right after that a collective exhibition in Bologna within an illustration and street art festival.

Beyond that, I am focusing on research and studying. I am preparing a series of portraits focusing on freedom of techniques and composition.


Yes, both as exhibitor and guest of the call for self-publishers.


Speaking from experience, what strikes me about people doing arts nowadays is innovation. By this, I don’t mean contemporaneity or modernity – I’m talking about originality, exploration, blending with the many trends from abroad, without being afraid of not being unique or aesthetically flawless. So, I would suggest bravery and artistic honesty.

PELO magazine

PELO (“hair” in Italian) is a sort of epithelium where young illustrators live like lush hairs: blond, dark, red, curly or sparse. They are all different but unified by a strong electrostatic charge and a desire not to be eradicated.
It’s perfect for whoever has a bad hair day, or let his/her hair down, or is as fine as frog’s hair, or just has too many or too few. PELO Magazine is full of hairs, on the cover, in the index, among the letters and the illustrations, but this doesn’t prevent is from being plainspoken. PELO is a rough pleasure.
PELO Magazine, born in an academic environment with a first issue entirely dedicated to sex, has started to gain more and more visibility thanks to its second issue, published at the Bologna Fruit Exhibition at the beginning of 2017. The basic idea is to create an irreverent fanzine with light, ironic themes. Every issue of this magazine deals with a different theme. Every author is free to experiment, as long as he or she stays true to the theme. The 29 authors and minds behind the projects astonish the readers because, despite the anarchic and rowdy spirit of the publications, they manage to be coherent and offer quality contents “to make your hair stand on end”!


  • Daniele Vanzo, Very important paranoia
  • Claudia Plescia, The lonely life of Mr. Symmetry
  • Giovanni Colaneri, A megalove story
  • Davide Bart Salvemini, Conversazione a denti stretti
  • Marco Quadri, Bologna autostrada 10
  • Alessandra Belloni, Il pelo è la mia mania
  • Naida Mazzenga, Cumuli di accumuli
  • Elena Guglielmotti, Ballata rubata
  • Giulia Tassi, Gelatofarianesimo
  • Martoz, Nel mezzo del cammin di nostra vita
  • Emanuele Oliveri, Shave me to the moon
  • Filippo Spinelli, Tutto in ordine
  • Juta, Zanzare
  • Paola Momentè, Fughe e piastrelle blu
  • Massimiliano Di Lauro, Piedi
  • Helga Perez Gomez, L’anatomia Hipster
  • Edoardo Massa, Introfobia
  • Giulia Conoscenti, Un toupet biondo che è la fine del mondo
  • Sofia Figliè, Proprio dietro l’angolo
  • Marco Caputo, Tiè
  • Camilla Pintonato, Otto regole d’oro per risparmiare schei
  • Giulia Piras, Considerazioni sull’ofidiofobia
  • Virgiania Gabrielli, Cianofobia
  • Alice Piaggio, Un pidocchio sotto sfratto
  • Giulia Pastorino, Vai a cacare Gaetano
  • Alice Corrain: Galline in fu…riate
  • Elisabetta D’Onghia, Una cena da paura
  • Marco Brancato, Farei del male a una mosca
  • Fabio Cesaratto, Avvento 1985
  • Francesco Fidani, Molestopoly
  • Lucia Biancalana, Fobiroscopo

Exhibition from the 21st to the 23rd April at the exhibition/market in Mercato delle Erbe. The meeting will be on Saturday 22nd April at Mercato delle Erbe, via Armaroli




Interview: Serena Schinaia

I always only use black India ink, ruined brushes, toothbrushes, bamboo nibs, but also branches, stones, and whatever helps me smear the paper.

Serena Schinaia was born in Taranto, but now lives and works in Rome. She studied in Bologna, initially Aesthetic Philosophy and then Illustration and Languages of Comics. Her illustrations have been published in many Italian and international anthologies.
She works as a freelance illustrator in Rome, where she owns a graphic design studio called CO-CO.

During the fourth edition of the Ratatà festival, she will launch “Un pezzetto alla volta dentro un punto nero che finisce col diventare tutto quello che c’è”. We asked her to tell us more about her project:

“Un pezzetto alla volta dentro un punto nero che finisce col diventare tutto quello che c’è” is a project of artistic research. I wanted to experience the relation between my line, painted in black India ink with different tools (rollers, brushes, bamboo nibs or basic small brushes) and paper stripes of many sizes, usually printer or typographical waste. These experiments merge into one large sized paper installation, made of many hand-drawn elements.

Your style is characterised by strong contrasts, a sharp line and the use of black and white. Have you always been faithful to these choices or have you started with different experimentations? How come did you decide to embrace these features and avoid the use of colours?

When I started, I used to draw light thin lines, which were almost pale, and I used to use many colours (Cyclone, 2012). Sometimes, I used to get rid of the outlines, simply filling the colours with crayons. While working on my first comics, I happened to avoid the use of colours and thicken my line, to make it more expressive and vivid (Deriva/Drift, RamHotel, 2014). I think this turning point was quite spontaneous and, over time, it has become my stylistic hallmark, making me recognisable even when the overcolourings and the graphic lines were at their most popular in the world of the self-produced comics in Bologna. But I think that this visual approach is appropriate for the kind of stories I want to illustrate, with little text, no balloons, characters without a name and often even without a face. I like a synthetic narrative and black and white represent the best way to do that. More recently, I have started working on two-toned illustrations (Ceniza/Cenere, Ediciones Valientes, 2016) and grey backgrounds, which allow me to give depth to the pictures (Vicolo cieco, Crisma, 2017). Probably, I am looking for new patternings to tell new fierce stories.

Do you also organise performances?

Yes, I do. Some of the works included in the “Un pezzetto alla volta…” installation are created within a live performance, in which I paint on the spot basing on musical improvisation by Polisonum, a collective of artistic sound research with whom I work. They have a transformed my working table into a real musical instrument. It has sensors and microphones transforming my movements into sound. The result is like a map of sound patterns, sketching places and landscapes made of India ink.

Is there anything inspiring you, or helping you produce your work?

Literature, music, cinema, palm trees in the wind, neon signs in a metropolis, atmospheres.

How important is it for you to add the text to your works? Do you enjoy reading? Which are the books you are fond of the most?

The text is fundamental to me, and I also think that it is the most interesting part of my work. Both when I am writing down the stories and when I am setting up a sequence, I try to create a visual rhythm that accompanies the text without making it a caption. Even in my abstract works, I consider the writing part fundamental. I didn’t choose the title “Un pezzetto alla volta dentro un punto nero che finisce col diventare tutto quello che c’è” by chance: it’s a concept, it helps to understand what it is about and to make sense of the creative process and the idea behind it. I love the less known contemporary Italian authors Genna, Vasta, Schillaci, but also the classics such as Pavese, Parise, Tondelli, and more generally authors who lived controversial lives. I read American literature a lot, Foster Wallace, Franzen, Carver, and also Eastern European authors such as Agotha Kristof, who is probably my favourite.

In Serena’s biography, there’s this sentence: “I love music but I don’t disdain the silence.” We asked her about her relation with music – when is she with music and when does she prefer silence, and what helps her the most in creating her works.

Music accompanies most of my work, both because I listen to it a lot while drawing and because there are albums that help me become absorbed in the atmospheres I need in that particular moment, in order to think of a story or a character. Silence, paradoxically, helps me get the rhythm of a story the general course of a narration.

Are you working on any new project right now? What is it about?

Crisma #2 will be released soon. It is a comics anthology produced by Lab Aquattro (Rome) that includes Vicolo cieco, my latest comics short story. During the last few months, I have worked on an album. I will publish it in June, during an event organised by my studio in Rome, Co-Co, and dedicated to Just Indie Comics, a website that collects the most interesting international self-produced comics. Moreover, soon CBK Comics (C’est Bon Kultur), in Sweden, will release an anthology that also includes one of my stories. I am very happy about it because I would love to broaden out my work and publishing abroad is highly stimulating, cause it allows me to meet different authors than the ones I already know in Italy. At the same time, I wish that “Un pezzetto alla volta…” may continue to expand through new setups in larger and larger spaces. I would like to collect this year’s work in a structured project with expanded installation and sound parts.

The end of the interview concerns Ratatà and her previous experience.

I took part in last year’s Ratatà edition for the first time and I consider it to be one of the most important illustration festivals in Italy, both because of its international dimension and because it gathers the best works in the Italian self-produced industry. I honestly hope that it will become one of the main festivals for producers, self-producers, and for the growing number of enthusiasts.

Interview: Carlos Hebles


Hello, everyone! My name is Carlos Hebles and I am a Spanish artist, cartoonist and illustrator.
I have started only recently to exhibit and sell my works in this typology of events, and, since I met a few people who went to Ratatà and told me about it, I decided to participate too. I was very impressed by the high-quality works by the artists of the Ratatà festival, so I decided to try too.


To be honest, I have drawn since I was a child (just like everyone, I suppose) but I have never stopped, so I studied at the Academy of Fine Arts in Granada.

Initially, I wanted to be a fully-fledged painter, but I got tired of that form of art and I found out that the comics and fanzine worlds were the best way to express myself.

Never erase.

I expect to meet a lot of famous artists and a lot of people, have fun, drink something and maybe sell some of my works, thus making this experience just perfect.

Interview: BVG – Jacopo Riccardi


We are a recently founded collective of students from the Academy of Fine Arts in Bologna and from the IED in Milan and our name is BVG. We are Agnese, Alessio, wiktor maciej odron, Davide, Fagiani, Grillo, Pigna e Disordine. We decide to exhibit at Ratatà Festival because some of us visited it last year and we thought that it would be a good starting point to get ourselves known.



Some of us were already friends, while others met each other at the Academy. After getting to know each other’s style, we decided to start working together.



We are still at the beginning so we find it quite difficult to answer to this question! We go from comics to illustration, from painting to animation; each of us works very differently form the other.



We expect an opportunity to grow as a group as individuals in this kind of environment. Those amongst us who have already been here as visitors are already aware of the wide range of events in program and the advantaged offered to whoever would like to get inside the self-produced industry, so we would definitely recommend it to our “colleagues” and friends.


When: Friday 21/04/17 at 16.00 (opening exhibition/market)
Where: entrance Mercato delle Erbe

Giacomo Bufarini, whose pseudonym is Run, was born in Ancona in 1979 but has lived and worked in London since 2007. He is mostly self-educated: after completing the artistic high school, he became interested in the underground scenery, initially with graffiti and then with street art.
He approached the mural scene by painting community centres and deserted houses, fascinated by the possibility of expressing himself in a public space and by the freedom offered by the street. The two Italian cities with most of his works are Florence and Bologna, where the artist has painted his first murals. He started to paint graffiti on lorries, trains and walls when he was young and created his first mural in 2003. His inspiration comes from freedom, originality and quality. The name RUN comes from a song from Cypress Hill. For him, choosing a name is like getting a tattoo when you’re young: it doesn’t necessarily have a deep meaning but it remains on your skin forever. Run has become famous very fast in the Italian underground scenery. He and his collaborators gradually attracted the European street art movement, influencing the rebirth of the European art of murals. His artistic path is characterised by a deep research on the line, which led Bufarini to delve into the wood carving techniques, painting and illustration, printing and engraving. His art can be found in many different countries, including Italy, England, Poland, China, Switzerland, Morocco, Senegal, Russia and Albania. His unique style is easily recognisable and it shows a level of attention to detail and an incomparable complexity that is hard to find in contemporary street art. His representations are often emphasised by the symbolic entanglement of bodies, and pattern like, friezes in bright, arresting colours. Giacomo Bufarini (aka RUN) is interested in street art as a language of communication, creating playful characters that speak to diverse audiences on multiple levels. The expansive scale of his works captivates the viewer, affecting a renaissance of muralism that reaches beyond the boundaries of street art. In May 2013, RUN exhibited his works at the Festival of Dulwich. His first solo exhibition (“Parabola Di G”) was held at the Howard Griffin Gallery in London from November 2014 until the beginning of February 2015. “Parabola Di G” is a semi-autobiographical story told through a unique series of highly detailed pen and ink drawings that collectively make up a book. The imagery follows the journey of a semi-fictional character, G, as he falls through levels of reality into a dreamscape. In September 2014, RUN opened his second solo show entitled ‘Man is God’ at Howard Griffin Gallery, Los Angeles. He participated in many Public Art projects, including a 2013 mural painted at the Village Underground wall in Shoreditch, London. Along with the Mexican artist Pablo Delgado, he painted a mural in the London’s neighbourhood of Clapton. In February 2014, RUN teamed up with Sheffield-based artist Phlegm and Christiaan Nagel on a mission to give final moments of vivacious life to yet another to be demolished building in London – the Blithehale Medical Centre in Bethnal Green. His latest projects include THE ARTMOSSPHERE Art Biennale in Moscow and the project MB6 for the Art Biennale in Marrakech, where he was asked to create a 6400 square metres painting in the main square of the city Essaouira. In 2015 he launched his last project in Rome, on his return to Italy: “L’Uomo con la Coda alla galleria Varsi”.
In November 2016 he published his first monographical book “Time Traveller Artist Man (unicorn press UK 2016).


Interview to RUN, March 2011 (taken from Street Art London)

What’s the story behind the name RUN?

RUN ‘s tag has been inspired by a Cypress Hill song, from the name of the dog of an Italian Mutoides friend (GRUNE), from the sound of these three letters with no meaning added. When you are young and you choose a tag, it doesn’t usually have the deepest meaning ever. It is like if you get a tattoo when you are 16 or 18 then ten year later it is just a mark on you, but it stays on your skin forever.

When and where did you create your first street art? What was it?

I used to graff when I was very little on trains, lorries, walls. Then I started to create paintings out of Hip Hop, using matt emulsion, water-based colour, rolls and brushes. My first big wall was in 2003 while squatting in a building in Italy. The meaning of that painting was: “We are here now and we haven’t got fear of nobody!”

You’ve just finished painting a big, colourful wall at The Foundry. Talk us through the ideas behind this piece.

Wall at Foundry: I had to adapt my design to what was already on the wall before (a recent colourful style by Milo Tchais), so I developed some shapes (hands) which I’m quite confident to make. Then I added some characters. The characters are wearing those hands like fancy dress costumes. It is March and we are in carnival period, isn’t it ?

Most of your work is large-scale. What challenges does this present? Does it mean sticking to mostly legal walls?

Big is better I think, especially in an era when the mass communication from corporate advertisements are so massive everywhere. Tags and wall writing graffiti are almost invisible in a busy visual environment. We should create contrast. If the background is gray, let’s use as much colour as we can! I am not really interested anymore in the adrenaline rush of painting illegally. If a wall is legal, it is more than okay. It’s already revolutionary and political to paint public spaces. I’m still going illegal if I need to though.

We remember some of your profile-style faces in Hackney a few years ago. Your work seems to be more detailed and complex lately. Is this your style evolving naturally or has it been a conscious change?

Once I moved to London, my drawings were constantly changing. This depends on the circumstances. I had to be quick (especially if I painted in the day time on a busy road ), so I had to make simple shapes and no outline, but if I have the time and opportunity, I like to go complex. Sadly (for me) most of the people in London have a “street logo”, so I had to get one (the faces), but I still try to make each painting with something new and different.

You’ve collaborated with artists like OZMO and M-City in the past. Is there a particular London-based artist you’d like to work with in the future? Why?

I am always up to collaborate in a wall but it has to be interaction between the two parts otherwise there’s no fun. And when I meet an artist, I’m not afraid to ask …

You’ve painted all over the world from your native Italy to China to Albania and many more places. What are your best and worst memories as a street artist abroad?

Let’s just say that I paint because I want to travel. There’s no better thing than to see another country and culture and possibly work during the trip. If I can keep my travel wheel spinning that’s enough for me to be happy.

If you could choose any London wall to redecorate, where would you take your paints and what would you create?

There are such a lots of walls in East London that I’d like to paint – blind facade (facade without windows) that are there just for be painted. The anti-graffiti policy in London is totally without sense. Maybe somebody can do something for that. I am doing what I can from my point of view that you “legalise” graffiti and murals in more spots that could only bring better thoughts to the people.

We’ve seen a few similarities between your work the art of BLU. Which other street artists give you inspiration?

I am inspired by freedom, originality and quality. I’ve meet many good artists on my way and I’m lucky to have grown up with many good people around. I know London keeps your mind very busy, but there are many other places and artists to discover around Europe and the rest of the planet.

Why is street art important? What do you hope to accomplish or communicate through creating your art in public spaces?

It is simply a way to communicate, but is free. Nobody is going to tell me what to draw on the street. And I got the proof in my experiences that people are just happy to see that happen. If they are not that means that they’re pissed off on their own.



Massimiliano Vitti

This slideshow requires JavaScript.

He will launch “Lettere, libri e animali” at Ratatà.
The opening will take place on Thursday, 20th April 2017 at 20.30 at Birreria la Poderosa, via Berardi 13 Macerata MC


Lettere, libri e animali is a three-dimensional reflection of my work. The title suggests the dualism of apparently distant worlds: the one of graphic and typography and the one of illustration and painting. These two realities merge when the narrative becomes wild and carnal.”
He is a graphic designer and illustrator born in Fabriano on the 15th September 1989. He works on visual communication projects, illustration, typography and independent publishing.
In 2012 he graduated in New Art Technologies at the Academy of Fine Arts in Urbino, and in 2015 he graduated in Communication and Design for Publishing at ISIA Urbino. In 2016 he and Alessio Pompadura founded DUE, a collective that delves into the possibilities offered by typography.
He lives and works in Perugia. He has collaborated with Mauro Bubbico, Housatonic Design Network, Muschi&Licheni e Zup. At the moment, he works at Gusto Ids as a editorial designer.

Cecilia Campironi

Cecilia Campironi is an illustrator from Milan, currently living in Rome. She graduated from the European Institute of Design in 2007 and now draws stories for children. She collaborated with publishers, writers, art directors, graphic designers, architects, programmers, singers, booksellers. Since 2006 she has been part of “Studio Arturo”, with which she organises courses on linocut and stamp etching all over Italy.

At the Ratatà festival, she will launch her recently released book “Che figura!” on the 20th April 2017 at Quodlibet, in via Mozzi 23.
“Che figura!” is an amusing collection of figures of speech described and illustrated as flash and bones characters. It’s a book for children and grown-ups, presenting complex concepts in a natural way. Cecilia chooses to explain figures of speech in a completely original way, using amusing examples and portraying them as bizarre funny characters, so that they will certainly impress more than a dry definition in the vocabulary.
From well-known to less popular figures of speech, the collection designed and created by Cecilia Campironi manages to teach notions and bits of knowledge in a playful and clever way.
The aim of the book is to teach with a smile and making the study lighter, for a better comprehension of basic but difficult notions.
It is an original catalogue of figures of speech, containing many well-thought our ideas, logical connections, textual solutions and funny illustrations that are easy to read. The pencil drawings of the characters immediately show the concept to highlight. So, a HYPERBOLE becomes a lady with a really long neck, an ALLITERATION is an orchestra conductor, a TAUTOLOGY is a knight in a mighty armour who, by the look of it, says magnificent things, but, in reality, only says banalities. So let’s learn with her by having fun!


Cecilia Campironi

Juan Bernabeu

Saturday, 22nd April

At Museo della Carrozza, via Don Minzoni 24 – Macerata (MC)
Opening at 13.00 in collaboration with Ars in Fabula

Juan Bernabeu’s passion for pictures and arts began when he was very young. Always holding a pencil in his hand, he started to experiment and create. For this reason, he decided to study at the Academy of Design in Valencia. This interest of his grows stronger as to gain a Postgraduate Certificate in Illustration for Publishing at the Academy of Fine Arts in Macerata, offered by the cultural association “FabbricadelleFavole”, thanks to which he ventures into the publishing world. He is attracted to simple, direct illustrations, which strike you for their solid narrative ability. He has lived in Berlin for many years, working as an illustrator.