top of page
eo
biotic garden
Noemi Saltalamacchia
<
Born in 1998, between ancient Atella and the Aeolian Islands, Italy. Finalist of the XVI National Arts Award (2022, Ministry of University and Research), she received several awards in 2025 in China, Taiwan, Canada, France and Finland. Professor of Landscape Design at the Faculty of Environmental Engineering in Ganzhou, Jiangxi (CN), she is part of the Embodied Education research group (UNISOB, Morra Foundation). She is cultrice della materia within the Department of Educational, Psychological and Communication Sciences of the Suor Orsola Benincasa University in Communication Pedagogy (Educational Sciences), Communication and Digital Cultures (Communication Sciences), Embodied Education (Cognitive Psychology and Techniques). ἐν-τροπή is among the works in the permanent public collection at the ANM station of Monte Echia, Municipality of Naples.
>
___________________________________________________portfolio
racconti biotici / le arche sono le infiorescenze arenate delle transumanze
< the arks are the stranded inflorescences of transhumance > Danilo Paris
Matrice Olivettiana. Terra di Lavoro, tracce di un paesaggio operoso.
Olivettian Matrix. A Working Land, Traces of a Productive Landscape. 2026. Il Museo Rigenera, Directorate-General for Contemporary Creativity, Italian Ministry of Culture. Olivetti Culture Plan. Superintendency of Archaeology, Fine Arts and Landscape for the Provinces of Caserta and Benevento; University of Campania “Luigi Vanvitelli”, Department of Architecture and Industrial Design; City of Marcianise; ASI; F2LAB; Casa del Contemporaneo. Olivetti Archives, Donnaregina Foundation for Contemporary Arts – Madre Museum.
Phase I / Olivettian September: Community Engagement and Development of the Work-in-the-Making, Exhibition and Conference. Royal Palace of Caserta.
Matrice Olivettiana. Terra di Lavoro, tracce di un paesaggio operoso.
Olivettian Matrix. A Working Land, Traces of a Productive Landscape. 2026. Il Museo Rigenera, Directorate-General for Contemporary Creativity, Italian Ministry of Culture. Olivetti Culture Plan. Superintendency of Archaeology, Fine Arts and Landscape for the Provinces of Caserta and Benevento; University of Campania “Luigi Vanvitelli”, Department of Architecture and Industrial Design; City of Marcianise; ASI; F2LAB; Casa del Contemporaneo. Olivetti Archives, Donnaregina Foundation for Contemporary Arts – Madre Museum.
Phase I / Olivettian September: Community Engagement and Development of the Work-in-the-Making, Exhibition and Conference. Royal Palace of Caserta.
< atella >
2026 | bewildered, perForming heritage. If the Museum is a school of participation and co-existence.
By Maria D'Ambrosio and Noemi Saltalamacchia, w/ 'Giordano Bruno' High School (science and languages courses) and National Archaeological Museum of the Agro Atellano.
By Maria D'Ambrosio and Noemi Saltalamacchia, w/ 'Giordano Bruno' High School (science and languages courses) and National Archaeological Museum of the Agro Atellano.
Áṣẹ, Waŋarr, Mudāriʿ - Presente
| nomad art festival 2026 Ferentino
to deconstruct archives as sites of the volatility of power and to view the living present as an act, an unrecorded moment that eludes the control of documentation: this is the Aboriginal Waŋarr of the songlines, which is reflected in the festival’s practice of remapping the country’s paths through the living imaginations of those who traverse them.
>> < rapporto delle ombre > roving report of the sixth edition of FAN / by Inverso Poesia (Mattia Tarantino, Mikel Marini, Daphne Grieco, Luigi Riccio) and Noemi Saltalamacchia.
1. to demystify an archive
2. to build an archive
3. to assembly
< così potresti vedere amico non cose ma il vedere le cose o la luce >
>> < otto bocche > to build the temple w/ Pier Paolo Di Mino, Veronica Leffe, Matteo Ripemi.
to deconstruct archives as sites of the volatility of power and to view the living present as an act, an unrecorded moment that eludes the control of documentation: this is the Aboriginal Waŋarr of the songlines, which is reflected in the festival’s practice of remapping the country’s paths through the living imaginations of those who traverse them.
>> < rapporto delle ombre > roving report of the sixth edition of FAN / by Inverso Poesia (Mattia Tarantino, Mikel Marini, Daphne Grieco, Luigi Riccio) and Noemi Saltalamacchia.
1. to demystify an archive
2. to build an archive
3. to assembly
< così potresti vedere amico non cose ma il vedere le cose o la luce >
>> < otto bocche > to build the temple w/ Pier Paolo Di Mino, Veronica Leffe, Matteo Ripemi.
Exercises in Deconstruction: Dismantling the Gaze, Inhabiting the Gesture
> EDI - Education Integration Global Forum / 2026 / by Fondazione Morra Greco, Naples
> Experiential Parallel Workshops
Beyond the Visual: The Museum as a Laboratory for Awareness and Social Change
[ The experiential workshop program emerges from the synergy between the education departments of Italian, international, and local institutions and the nonprofit sector. It is an opportunity to rethink the museum as a device for collective experimentation that moves beyond itself, opening to dialogue with the public and social sphere.
>> 03/18/2026 03:30 - 05:00 PM
Exercises in Deconstruction: Dismantling the Gaze, Inhabiting the Gesture
/ Coordinated by Maria D’Ambrosio (UNISOB Gruppo embodied) and Rosa Anna Di Lella (MUCIV) with the collaboration of Gennaro di Fabbio and Noemi Saltalamacchia (Gruppo Embodied).
The workshop explores the museum’s transformative role of the museum through the concept of ‘opacity’, which the MUCIV – Museo delle Civiltà (Museum of Civilizations) employs to reinterpret its collections from a decolonial perspective. Furthermore, it draws upon the ‘embodied education’ research methodologies through which the Fondazione Morra Greco develops innovative educational policies. The gaze, the body, and the tactile and performative dimensions are integral to the laboratory experience, turning the artworks, the objects and the artefacts into truly generative and participatory devices.
> Experiential Parallel Workshops
Beyond the Visual: The Museum as a Laboratory for Awareness and Social Change
[ The experiential workshop program emerges from the synergy between the education departments of Italian, international, and local institutions and the nonprofit sector. It is an opportunity to rethink the museum as a device for collective experimentation that moves beyond itself, opening to dialogue with the public and social sphere.
>> 03/18/2026 03:30 - 05:00 PM
Exercises in Deconstruction: Dismantling the Gaze, Inhabiting the Gesture
/ Coordinated by Maria D’Ambrosio (UNISOB Gruppo embodied) and Rosa Anna Di Lella (MUCIV) with the collaboration of Gennaro di Fabbio and Noemi Saltalamacchia (Gruppo Embodied).
The workshop explores the museum’s transformative role of the museum through the concept of ‘opacity’, which the MUCIV – Museo delle Civiltà (Museum of Civilizations) employs to reinterpret its collections from a decolonial perspective. Furthermore, it draws upon the ‘embodied education’ research methodologies through which the Fondazione Morra Greco develops innovative educational policies. The gaze, the body, and the tactile and performative dimensions are integral to the laboratory experience, turning the artworks, the objects and the artefacts into truly generative and participatory devices.
Storia di Yaʽfūr e di altre asine
text by Mattia Tarantino
sign language research by Noemi Saltalamacchia
+ 21.12.25 / Set up the tent in the street and tell the < Storia di Yaʽfūr e di altre asine > _ cave and community: [documented performance / reproducible matrix] ἀρχέτυπον is a housing, performative and community matrix. If the times of life are < the present of the past, the present of the present, the present of the future >, the rewriting of the city passes through the activation of a generative space-time to the telling of a story, of an origin: < Every time I discover something, I feel that it is what I have recalled to memory. Discoveries are behind us and we must travel backwards to reach them. With a breakthrough – as in the return of an exile – one can touch something that is not linked to origins, but – if I may say so – to the origin? >. The instructions are as follows: place a tent in the street, inside the tent tell those who enter (one at a time) the double translation (oral and sign language) of a story, such as ‘’Storia di Ya’fur e di altre asine’’ by M.T.
I
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, degli imperdonati. Tu hai le chiavi del Regno e il regno è una macchina per perdonare. Per incastrare nel perdono come la polizia incastra i neri o gli studenti. Vedi le asine condurre i morti fuori dal perdono, è ancora estate. Un’estate turca, senza vento.
II
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, andare verso il sole. Il Carro si risolve nel Sole quando tutto è stabilito in chiaraluce. Il Carro è il Sole riavvolto su sé stesso, qualcosa che ruota e ricomincia. Ci sono soste che non interrompono, velocità, l’immagine adesso è più simile a un gas.
III
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, attraversare la Porta. Qui comincia una terra impensata, branchi di cani invisibili ululano e ti accerchiano. Le vedi fare il latte dalla paura. L’infezione comincia dalle mammelle, sfila nelle rocce, ricomincia dall’arsura. Ora chi attraversa porta un segno. Se passi ti spuntano le corna.
IV
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, una gag della morte. Un guasto alle leve e la mandria cammina ma il paesaggio non scorre. Proiettano immagini del deserto, terre brulle. Le più piccole, le malarrivate, le cornute, scalpitano nella proiezione imprigionate nella luce.
V
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, leccare le pietre. Asine antichissime, Yaʽfūr, Himaral, ʽOfryal, si risvegliano da un sonno millenario, minerale. La loro voce, registrata nel silicio, viene in sogno alle cornute. Dozzine di asinelle collassano fra i fossili.
VI
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, impallidire. Hanno sentito i razzi fischiare, la terra fremere. Hanno sentito gli zoccoli spaccarsi, il sottomondo rombare per emergere. Hanno visto i fantasmi dei mandriani.
VII
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, cominciano a parlare. Parlano la lingua invisibile delle bestie, la lingua riallacciata nella voce. Ragliano ai fantasmi, proteggono Yaʽfūr. Yaʽfūr offerta in sacrificio.
VIII
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, girare in tondo. Adesso Yaʽfūr è il nome della Trasparenza, la trama del Regno. Tu hai le chiavi e non hai aperto. Tu hai le chiavi e hai detto una bugia. Parli di una Porta che non c’è, hai una mano insanguinata e una maschera da ciuccio.
IX
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, cadere sfiancate. I cadaveri coprono la croce, i mandriani si allontanano cantando. Hanno cerchiato la croce per confermare il Tuo Regno. Hanno indossato la testa di Yaʽfūr. L’hai tradita, l’hai chiamata per nome. L’hanno scritto nel Libro, hai indossato la maschera.
X
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, dei restituiti. Ora il perdono li stringe, li consuma, li riconsegna sciupati. Qualcuno controlla e li approva. A qualcuno frugano nello spazio tra le costole. A un altro hanno allacciato un orologio, bisbigliato una cifra. Ora il perdono ricomincia nel tempo, riconcilia alla morte.
XI
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, svanire. Hai sentito ragliare. Hai aperto la Porta e lasciato che uscissero. Hai fuso le chiavi alla tua trasparenza. Senti ancora ragliare, ti giri. Ragli e cammini.
sign language research by Noemi Saltalamacchia
+ 21.12.25 / Set up the tent in the street and tell the < Storia di Yaʽfūr e di altre asine > _ cave and community: [documented performance / reproducible matrix] ἀρχέτυπον is a housing, performative and community matrix. If the times of life are < the present of the past, the present of the present, the present of the future >, the rewriting of the city passes through the activation of a generative space-time to the telling of a story, of an origin: < Every time I discover something, I feel that it is what I have recalled to memory. Discoveries are behind us and we must travel backwards to reach them. With a breakthrough – as in the return of an exile – one can touch something that is not linked to origins, but – if I may say so – to the origin? >. The instructions are as follows: place a tent in the street, inside the tent tell those who enter (one at a time) the double translation (oral and sign language) of a story, such as ‘’Storia di Ya’fur e di altre asine’’ by M.T.
I
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, degli imperdonati. Tu hai le chiavi del Regno e il regno è una macchina per perdonare. Per incastrare nel perdono come la polizia incastra i neri o gli studenti. Vedi le asine condurre i morti fuori dal perdono, è ancora estate. Un’estate turca, senza vento.
II
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, andare verso il sole. Il Carro si risolve nel Sole quando tutto è stabilito in chiaraluce. Il Carro è il Sole riavvolto su sé stesso, qualcosa che ruota e ricomincia. Ci sono soste che non interrompono, velocità, l’immagine adesso è più simile a un gas.
III
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, attraversare la Porta. Qui comincia una terra impensata, branchi di cani invisibili ululano e ti accerchiano. Le vedi fare il latte dalla paura. L’infezione comincia dalle mammelle, sfila nelle rocce, ricomincia dall’arsura. Ora chi attraversa porta un segno. Se passi ti spuntano le corna.
IV
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, una gag della morte. Un guasto alle leve e la mandria cammina ma il paesaggio non scorre. Proiettano immagini del deserto, terre brulle. Le più piccole, le malarrivate, le cornute, scalpitano nella proiezione imprigionate nella luce.
V
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, leccare le pietre. Asine antichissime, Yaʽfūr, Himaral, ʽOfryal, si risvegliano da un sonno millenario, minerale. La loro voce, registrata nel silicio, viene in sogno alle cornute. Dozzine di asinelle collassano fra i fossili.
VI
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, impallidire. Hanno sentito i razzi fischiare, la terra fremere. Hanno sentito gli zoccoli spaccarsi, il sottomondo rombare per emergere. Hanno visto i fantasmi dei mandriani.
VII
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, cominciano a parlare. Parlano la lingua invisibile delle bestie, la lingua riallacciata nella voce. Ragliano ai fantasmi, proteggono Yaʽfūr. Yaʽfūr offerta in sacrificio.
VIII
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, girare in tondo. Adesso Yaʽfūr è il nome della Trasparenza, la trama del Regno. Tu hai le chiavi e non hai aperto. Tu hai le chiavi e hai detto una bugia. Parli di una Porta che non c’è, hai una mano insanguinata e una maschera da ciuccio.
IX
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, cadere sfiancate. I cadaveri coprono la croce, i mandriani si allontanano cantando. Hanno cerchiato la croce per confermare il Tuo Regno. Hanno indossato la testa di Yaʽfūr. L’hai tradita, l’hai chiamata per nome. L’hanno scritto nel Libro, hai indossato la maschera.
X
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, dei restituiti. Ora il perdono li stringe, li consuma, li riconsegna sciupati. Qualcuno controlla e li approva. A qualcuno frugano nello spazio tra le costole. A un altro hanno allacciato un orologio, bisbigliato una cifra. Ora il perdono ricomincia nel tempo, riconcilia alla morte.
XI
Vedi le asine passare. Le vedi trasportare i corpi degli uccisi, svanire. Hai sentito ragliare. Hai aperto la Porta e lasciato che uscissero. Hai fuso le chiavi alla tua trasparenza. Senti ancora ragliare, ti giri. Ragli e cammini.
< generated things tend to disappear >
06.12.25
Two acts of translation by Mattia Tarantino and Noemi Saltalamacchia / River of Dialogues [ Art Days - Napoli Campania ] at Opificio Puca w/ Untitledage
Two acts of translation by Mattia Tarantino and Noemi Saltalamacchia / River of Dialogues [ Art Days - Napoli Campania ] at Opificio Puca w/ Untitledage
orti errabondi < On the Threshold of the Book >
2025
If splendour inhabits transhumance, epoché proliferates beyond the journey itself: it becomes a dimension of questioning in Edmond Jabès' Book of Questions, voiced in < On the Threshold of the Book >, by the groups Inverso Poesia and Vallecchi poesia, who inaugurated and closed < Sabbia delle Urne >, the poetry section. “On the Threshold of the Book”, the awareness of a cry through listening, the first part of Edmond Jabès' Book of Questions. A five-voice recital by Mattia Tarantino, Nicola Barbato, Rebecca Garbin, Mikel Marin and Davide Gallo, with the performative installation <wandering gardens> by Noemi Saltalamacchia and soundscapes by Gabriele D'elia. "The reader is perhaps called, rather than to judgement, to a closeness with the author, rather than to commentary, to that first essential form of hermeneutics that is listening. Listening to voices – of rabbis and disciples, lovers and the persecuted – and listening to the countless variations that move from the enigma of an absent face towards a recognition – a cognition – of the pain that is in the world."
If splendour inhabits transhumance, epoché proliferates beyond the journey itself: it becomes a dimension of questioning in Edmond Jabès' Book of Questions, voiced in < On the Threshold of the Book >, by the groups Inverso Poesia and Vallecchi poesia, who inaugurated and closed < Sabbia delle Urne >, the poetry section. “On the Threshold of the Book”, the awareness of a cry through listening, the first part of Edmond Jabès' Book of Questions. A five-voice recital by Mattia Tarantino, Nicola Barbato, Rebecca Garbin, Mikel Marin and Davide Gallo, with the performative installation <wandering gardens> by Noemi Saltalamacchia and soundscapes by Gabriele D'elia. "The reader is perhaps called, rather than to judgement, to a closeness with the author, rather than to commentary, to that first essential form of hermeneutics that is listening. Listening to voices – of rabbis and disciples, lovers and the persecuted – and listening to the countless variations that move from the enigma of an absent face towards a recognition – a cognition – of the pain that is in the world."
ἐν-τροπή
2024
permanent public collection
-to handle the earth [...] is to make it capacious-,
-to each house corresponds, in a mirror reflection of which the surface is the centre, the cavity deprived of its fullness. To inhabit is to empty the earth of its heart,
to accompany it to emergence and to carry the mourning of that translation-.
// The work is part of the permanent public collection of the City of Naples. Located at Monte Echia, the first Greek settlement, Parthenope, a junction point is now part of the city's collective imagination.
pressreview: Il Mattino, La Repubblica
permanent public collection
-to handle the earth [...] is to make it capacious-,
-to each house corresponds, in a mirror reflection of which the surface is the centre, the cavity deprived of its fullness. To inhabit is to empty the earth of its heart,
to accompany it to emergence and to carry the mourning of that translation-.
// The work is part of the permanent public collection of the City of Naples. Located at Monte Echia, the first Greek settlement, Parthenope, a junction point is now part of the city's collective imagination.
pressreview: Il Mattino, La Repubblica
ircocervo
2024
<< History is inscribed in the head of the Ircocervo, history as intermittence >>
/ In “L'Ircocervo”, Edizioni Volanti, Mattia Tarantino, with an insert by Noemi Saltalamacchia /
<< History is inscribed in the head of the Ircocervo, history as intermittence >>
/ In “L'Ircocervo”, Edizioni Volanti, Mattia Tarantino, with an insert by Noemi Saltalamacchia /
press-float
2022/2024
<viadellafucina16 grousphow!> and “COLLETTIVONA VIADELLAFUCINA16”
at viadellafucina16 Condominio-Museo [2022] and BOREALIS ART SPACE [2024]
Torino, Italy
> Turin Art Week <
With the support of MiC and SIAE, as part of the “Per Chi Crea” programme.
<viadellafucina16 grousphow!> and “COLLETTIVONA VIADELLAFUCINA16”
at viadellafucina16 Condominio-Museo [2022] and BOREALIS ART SPACE [2024]
Torino, Italy
> Turin Art Week <
With the support of MiC and SIAE, as part of the “Per Chi Crea” programme.
ib
2024
Botanical Garden of Naples
Botanical Garden of Naples
319 sculture
2022
Artists: Francesca Cerfeda, Valentina De Florio, Pasquale Gadaleta, Simona Anna Gentile, Noemi Saltalamacchia
Curated by: Alice Caracciolo and Marco Vitale
<
The artists were invited to use the size of their own hands as a unit of measurement for this smallness. The parameters provided to them as a guide state: “the sculpture can be held in one hand, contained within it or take on its actual size”. Thus, on the one hand, the works on display are linked to an extremely personal factor, such as the size or strength of one's hand, while on the other hand, they are completely detached from their authors: the 319 sculptures are in fact displayed collectively in the space, as a single body, with no indication of individual authorship.
This could describe the common position of a generation forced into reduction and, at the same time, perhaps eager to implement it.
>
Artists: Francesca Cerfeda, Valentina De Florio, Pasquale Gadaleta, Simona Anna Gentile, Noemi Saltalamacchia
Curated by: Alice Caracciolo and Marco Vitale
<
The artists were invited to use the size of their own hands as a unit of measurement for this smallness. The parameters provided to them as a guide state: “the sculpture can be held in one hand, contained within it or take on its actual size”. Thus, on the one hand, the works on display are linked to an extremely personal factor, such as the size or strength of one's hand, while on the other hand, they are completely detached from their authors: the 319 sculptures are in fact displayed collectively in the space, as a single body, with no indication of individual authorship.
This could describe the common position of a generation forced into reduction and, at the same time, perhaps eager to implement it.
>
IN SEI ATTI
2019
SAPERE I LUOGHI
Promoted by MiBAC - General Directorate of Contemporary Art and Architecture and Urban Suburbs. Project: take pART - act and think creatively.
Skillpass: Inter-disciplinary programmes and qualifications involving arts and humanities.
_ Training at Casa Morra - Archive of Contemporary Art, Naples. [ 04.03.19/17.04.19 ]
_ Residency at the Lac o Le Mon Foundation, San Cesario di Lecce, Lecce. [ 23.04.19/02.05.19 ]
_ Performance and exhibition [ 28.05.19/30.06.19 ]
Sapere i Luoghi - IN SEI ATTI / Morra Foundation | Casa Morra – Archive of Contemporary Art / Salita San Raffaele 20/c, Naples / curatorship: Cesare Pietroiusti | Lac o Le Mon Foundation
SAPERE I LUOGHI
Promoted by MiBAC - General Directorate of Contemporary Art and Architecture and Urban Suburbs. Project: take pART - act and think creatively.
Skillpass: Inter-disciplinary programmes and qualifications involving arts and humanities.
_ Training at Casa Morra - Archive of Contemporary Art, Naples. [ 04.03.19/17.04.19 ]
_ Residency at the Lac o Le Mon Foundation, San Cesario di Lecce, Lecce. [ 23.04.19/02.05.19 ]
_ Performance and exhibition [ 28.05.19/30.06.19 ]
Sapere i Luoghi - IN SEI ATTI / Morra Foundation | Casa Morra – Archive of Contemporary Art / Salita San Raffaele 20/c, Naples / curatorship: Cesare Pietroiusti | Lac o Le Mon Foundation
bottom of page