Sur-Venezia 2017

Where’s the genius? Where is the genius loci? The Bridge of Sighs has become the bridge of smiles! Do the posters and the signs become the chaotic representation of the spirit of the place, ever more fragmented, stereotyped and mixed up in the contemporary age? Do they become a kind of self-realization of the collective unconscious of this historical period? Can it be just a game of free associations or is it an anthropological analysis tool?
The paradoxes and the semantic and visual contrasts of these slogans in these specific places create a glocal overlay on the Venetian substratum, generate a paradoxical and kitsch overlap between the characteristic and the anonymous, where the identity of the landscape and its inhabitants is increasingly liquid.

iMilk 2019

The abuse of digital technology by preschool and pre-adolescent children can have a strong neurological, psychological and behavioral impact. The first phase of life is that in which the brain is more receptive and able to develop based on external stimuli. Precisely for this the reckless use of digital devices means that the brain is not stimulated in the correct way, thus generating cognitive delays, attention deficit and decreasing learning and self-regulation abilities. Playing in front of a screen, children are deprived of the natural experience of the third dimension and their imagination is limited by predefined and mechanical games.

Fatphone 2016

Are we hungry of our technological devices or are the devices themselves hungry of reality?

Note: The text above was written by the Artist. No modification was made by COCA.

Enrico Dedin


Enrico Dedin was born in Treviso in 1996.
He participated in national and international exhibitions in Italy and abroad.
In 2018 he graduated with honors in “New Technology of Art” at the Academy of Fine Arts in Venice. In the same year he won the prize for the Metropolitan City of Venice in the photographic competition “Insegne: parole e immagini d’Italia”.
In 2019 and 2020 he’s one of the artists selected by Fondazione Bevilacqua La Masa for the 102nd and 103rd “Collettiva Giovani Artisti” exposing then in Galleria di Piazza San Marco in Venice. In the same period he was selected for the “What Do We Do Now?” pavilion/embassy of the 4th edition of the global digital art event “The Wrong Biennale”.
He has collaborated with the advertising manager Valerio Pradal, who was the curator of the San Marino Pavilion at the 53rd and 54th Venice Biennale. He was selected by Popack s.r.l.i. of Milan for the development of art licensing projects in collaboration with consumer product brands.

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