PORTFOLIO
MATTEO DE CAMINADA  
















MATTEO DE CAMINADA  *2001, Italy
Visual Artist, Curator, Performer.

website  www.matteodecaminada.xyz



 INDEX

  1. (GLASS) CLOSET 
  2. BIGOTRY IN EVOLUTION
  3. ONTOLOGY OF AN IMAGE (112 Series)
  4. TRANSIT
  5. MEMBRANA
  6. HEAVENLY CONTRASTS
  7. G(HB)-SCENE
  8. CLOSE TO DISRUPTION
  9. TROPHIES OF DECADENCE
  10. DECAY IN RENEWAL
  11. WEISSENSTEIN
  12. A THREAT TO YOU, IS A THREAT TO ME AND TO ALL OF US.






1.



(GLASS) CLOSET

Sculptural Installation with Performance

Installation View

Close Up



(Glass) Closet uses the image of the closet as a fragile architecture of concealment. Constructed from glass, the structure simultaneously promises protection and renders it impossible.
The work reflects on queer subjectivities that remain exposed even while attempting to hide, becoming legible to social norms before they become legible to themselves.
Positioned between visibility and denial, the sculpture examines how identity is often projected onto bodies from the outside, turning the closet from a private refuge into a transparent mechanism of surveillance.
In this condition, concealment ceases to function; the gaze has already arrived.

(GLASS) CLOSET IS NOT ONLY A SCULPTURAL INSTALLATION, BUT ALSO A PERFORMANCE PIECE. AIMING  TO confront the collective structures that force people to suppress their identities, advocating for a future where difference is celebrated rather than merely tolerated. THE PERFORMANCE TEXT IS A FUNDAMENTAL PART OF THE PERFORMANCE.



PERFORMANCE TEXT

“I forgive you, 
Not because nothing happened, 
Not because it did not hurt, 
But because I came to understand it was never one person's fault. It was a collective fault. 
A cultural problem. A collective silence. 
I want change. Because change is inevitable, if we are to evolve. 

You don't know anything about shame, do you? 
You don't know what it means to change yourself, to survive. To walk a certain way.
To talk a certain way. 
To lower your voice. 
To dress down. 
To make yourself smaller. 
To drink, to stop feeling judged. 
To constantly listen to loud music, to not hear people insulting you. I had to disappear. 
I had to physically suppress who I am, to survive mentally. 

Our differences are our greatest strength. 
Without mine, I could not see the world the way I do. 
I would not be myself without them. 
What makes us, is what sets us apart.
Through your exclusion, I learned acceptance.
Let us accept our differences. Let us embrace them. Let us learn from them. 
I only wanted to live, to be myself, but you hurt me, again and again. 
You wanted me normal. You wanted me obedient. 
You forced me to make myself smaller, until there was nothing left to hate. 
So I left, to be myself. 

Now you see me here, proud and strong. 
But remember, I am only a visitor now. 
I leave whenever I want. I no longer have to obey to your degrading unwritten rules. I want everyone to be whoever they are, without ever having to leave or change. If I had stayed, I doubt I would have found the courage to become who I am today. In love, and in tears of remembrance, for everything I became, my-true-self. Because there is nothing more righteous than being your true self, every day. This is not about me. This is about everyone, who thinks, who behaves, who acts, who speaks, differently. I want everyone accepted. Not merely tolerated. Accepted. Everyone, the deviants, the sodomites, the perverts, the sluts, the weirdos, the divas, everyone. 

Except those who would deny others that same right. That is not a contradiction. That is the line where acceptance protects itself. 

Born and raised here, forced to leave, 
to become my-true-self.”




LINKS

https://performance-glass-closet.cargo.site

https://www.transart.it/it/editions/26/drawn-to-risk

https://fondazioneantoniodallenogare.com/en/events/2279-drawn_to_risk_house_of_performance 




2.


BIGOTRY IN EVOLUTION

Series of Sculptures and Installations

Untitled, Steam Machine (Tech-Sculpture)

Bigotry in Evolution, Exhibition View


Untitled, Steam Machine

Strip of Violence (Installation)

Bothering Echo (Sound and Steam Installation)


BIGOTRY IN EVOLUTION EXAMINES THE STRUMENTALISATION OF RELIGION AND THE CONTEMPORARY TRANSFORMATION OF INTOLERANCE WITHIN POLITICAL, TECHNOLOGICAL AND SOCIAL STRUCTURES. RATHER THAN APPROACHING BIGOTRY AS  A RESIDUE OF THE PAST, THE EXHIBITHION CONSIDERS IT AS A MUTATING FORCE THAT CONTINUOUSLY ADAPTS TO NEW FORMS OF MEDIA CIRCULATION AND POPULIST RETHORIC. ACROSS A SERIES OF INSTALLATIONS AND TECH-BASED SCULPTURES, MECHANISMS OF OPACITY AND STEAM, REFLECTION, INTERRUPTION OPERATE NOT ONLY AS AESTHETIC DEVICES, BUT AS METHAPHORS FOR THE EXHIBITHION EMERGED FROM A PERSONAL URGENCY TO CONFRONT THE NORMALISATION OF EXCLUSIONARY AND NATIONALIST POLITICS WITHIN EUROPE AND BEYOND. STEAM, REFLECTION, INTERRUPTION OPERATE NOT ONLY AS AESTHETIC DEVICES, BUT AS METHAPHORS FOR THE Uncertainty WE LIVE IN. THE EXHIBITHION EMERGED FROM A PERSONAL URGENCY TO CONFRONT THE NORMALISATION OF EXCLUSIONARY AND NATIONALIST POLITICS WITHIN EUROPE AND BEYOND.



3.


“112”

Series of Sculptures 

112 #1

112 #ipad


112 #2

ONTOLOGY OF AN IMAGE INVESTIGATES THE SHIFTING MATERIAL OR IMMATERIAL CONDITION OF IMAGES WITHIN CONTEMPORARY DIGITAL CULTURE. AS AN IMAGE CIRCULATES ENDLESSLY THROUGH SCREENS, PLATFORMS AND COMPRESSED NETWORKS, THEIR PHYSICAL PRESENCE APPEARS INCREASINGLY UNSTABLE.  THE EXHIBITION RESPONDS TO THIS DISAPPEARANCE BY REPOSITIONING DEVICES, SCREENS AND PRINTED IMAGES AS SCULPTURAL BODIES RATHER THAN NEUTRAL CARRIERS OF INFORMATION. THROUGH ACTS OF DISASSEMBLY AND RECONSTRUCTION, TECHNOLOGICAL OBJECTS ARE STRIPPED OF THEIR SEAMLESS FUNCIONALITY. EMBEDDED IN THE EXHIBITION IS HE BODY OF WORK „112“. A SERIES OF WORKS WHICH REFLECTS OF SUBSTANCE ABUSE, BODY VULNERABILITY, MEMORY FRAGMENTATION AND STATES OF UNCONTROLLED INTOXICATION. THE SERIES REFERS TO MOMENTS OF HOSPITALISATION AND PHYSICAL COLLAPSE. THE NUMBER 112, EUROPE´S EMERGENCY CALL LINE. RATHER THAN MORALIZING, THE SERIES EXAMINES HOW BODIES BECOME ENTANGLED WITHIN SYSTEMS OF VISIBILITY AND DISAPPEARANCE. 





4.


TRANSIT

Sculptural Installation

Installation View

Close Up



     
Transit explores systems of movement, instability, and structural violence through an industrial sculptural language composed of steel, aluminium, nylon, and tension-based forms. The installation examines how mechanisms of exclusion operate not as isolated events, but as interconnected social structures that continuously shape embodied experience. Homophobia, misogyny, racism, and other forms of discrimination are approached here as overlapping systems rather than separate categories. Transit approaches movement not simply as physical displacement, but as a condition shaped by power, vulnerability, and social negotiation. The installation constructs an environment in which tension, pressure, and imbalance remain permanently active.






5.



MEMBRANA

Sculptural Installation

Installation View

Close Up



     
The work examines violence not only as visible physical aggression, but as something that continues to resonate internally through memory, anticipation, and collective fear. Voices, fragments, and sonic interruptions circulate through the installation as unstable traces of social hostility. The title references the membrane as a fragile threshold between interior and exterior, body and environment, protection and exposure. This threshold becomes both psychological and architectural: a surface through which fear, trauma, and vulnerability continuously pass. Rather than documenting violence directly, the installation focuses on its aftereffects, the way aggression persists within bodies, atmospheres, and forms of collective consciousness. MEMBRANA constructs a condition in which sound becomes spatial pressure, and listening becomes an encounter with systemic hostility embedded within everyday life.





6.



HEAVENLY CONTRASTS

Sculptural Installation

Installation View

Untitled, Stainless-Steel, Rusty-Metal


Untitiled, Dead-Bird, Energy-Drink


     
Heavenly Contrasts stages a confrontation between the sacred and the profane, belief and decay. Set within an austere industrial aesthetic, the installation pairs sound with a charged physical environment: rusted metal surfaces, a lifeless bird juxtaposed with a brightly branded energy drink, and a crucifix affixed to a corroded rusty fragment. Each element becomes a symbolic counterpoint, composing a visual and sonic language of contradiction. The work critiques religion not only as a historical instrument of control, but as a contemporary mechanism that continues to shape ideologies of exclusion, repression, and obedience. In its material decay and sonic aggression, Heavenly Contrasts does not seek reconciliation, it declares rupture. It is an aesthetic and political refusal of sanctified violence disguised as salvation. Here, the crucifix is no longer a sacred object but a hollow relic:  rusted, exhausted, and fastened to decay. The dead bird, a once-living body, lies adjacent to the hypermodern promise of artificial vitality. Together, these juxtapositions expose the absurdity, hypocrisy, and latent violence of belief systems that claim moral purity while participating in systemic oppression and denial of the body.




7.



G(HB)-scene

Series of Sculptures - Publication

Installation View, Semperdepot, Vienna

Close Up



     
G(HB)-scene is an ongoing body of work examining the relation between queer nightlife, intimacy, dependency, and states of bodily exhaustion. Developed through photography, installation, and sculptural display systems, the project reflects on the presence of GHB/GBL within contemporary chemsex culture and the contradictory conditions surrounding its circulation. Rather than approaching substance use through moral judgement or documentary distance, the project focuses on the social and emotional infrastructures that allow certain forms of self-destruction to become normalized within collective environments. The works originate from lived proximity to these realities, yet resist confessional narration. What emerges instead is a reflection on repetition, silence, intimacy, and the unstable boundary between liberation and harm. G(HB)-scene functions as an attempt to render visible a condition that often remains simultaneously hyper-present and socially unspoken.






8.



CLOSE TO DISRUPTION

Series of Sculptures

Close To Disruption Act.1

Installation View, Academy of Fine Arts Vienna


Close To Disruption Act.2








9.


TROPHIES OF DECADENCE

Series of Sculptures

Installation View

Close Up


Close Up

Close Up


     





10.


DECAY IN RENEWAL

Sculpture

Sculpture Front View

Sculpture Side View


Close Up





11.


WEISSENSTEIN

Installation - Research 

Installation View

Close Up



     
Weissenstein is a site-specific installation conceived during my stay at Weissenstein Castle in Osttirol, Austria. Realized in the context of A restoration workshop organized by the Austrian Superintendency of Fine Arts, the work was presented for three days within the historic interiors of the castle. The intervention stages a fragile balance between surface and depth. In a room marked by ornamental wallpaper and polished parquet, a mound of earth and rubble emerges through the floor, shielded only by makeshift layers of cardboard. The gesture evokes the act of excavation: a probing into what lies beneath the visible layers of architecture, while simultaneously exposing the vulnerability of the building’s fabric. The work oscillates between archaeological inquiry and research, suggesting that preservation is never merely about stabilizing structures but also about confronting the latent histories, material tensions, and concealed narratives that dwell within them.









12.


A THREAT TO YOU, IS A THREAT TO ME AND TO ALL OF US.

Installation

Installation View, Semperdepot, Vienna