INFODEMIC: a solo exhibition of Enrico Dedin

From the war of signs to infodemia

Guerriglia Semiologica is a cross-disciplinary art project, conceived by the cultural association Trascendanza in Perugia. The initiative, born as a call for artists, materialized in a virtual exhibition (ended last June 10) and culminated in the proclamation of the 3 winners.
Among the awards dedicated to the artists, the one of a personal exhibition aimed at telling the story of their creative project and research, which will be held from June 21 to July 21 on the website of the association (http://trascendanza.net/infodemic).

The selected artist, given the strength and relevance of his production, is Enrico Dedin. Born in Veneto in 1996, he graduated from the Academy of Fine Arts in Venice and has been questioning himself for some time on the socio-anthropological changes brought about by the advent of digital and new technologies.
Despite his young age, Dedin boasts in his experience the participation in national and international exhibitions, such as the Collective Young Artists of the Bevilacqua La Masa Foundation and the biennial The Wrong, as well as other various awards. His works are part of prestigious art collections among which stands out "Heure Exquise!", audiovisual distributor of the Musée du Louvre and Musée D'Orsay.

"INFODEMIC", the title of his upcoming solo exhibition, encapsulates his latest digital-related reflections.
The pivotal theme around which the exhibition revolves, in fact, is that of information overload: a condition for which the mass of communication flows sent and absorbed daily by individuals, becomes so unmanageable as to translate into narcotization, anesthesia and saturation of cognitive abilities.
We are immersed in a veritable "infosphere," a phygital environment where digital and physical life merge together, a space imaginable as a non-place of hypervisibility in which "enough data is generated every day to fill all American libraries more than eight times over."

Infodemic is thus configured as a claustrophobic tunnel, a hyperloop dense with data and visual material in which the viewer is immersed and travels through.
The mass of information brought to its paroxysmal dimension, is nothing but a ruthless metaphor of the cognitive overdose typical of the hyper-connected society, which overwhelms the visitor highlighting a great contradiction: where everything is seen, nothing is observed.