Art since the end of the last century and anthropology have started an approach called “ethnographic turn”, and an “artistic turn” involved anthropology. IMPURE offers a space of expression and dialogue between art and anthropology, where art acts at various degrees and levels of collaborative ethnography based in social space – public space, site-specific, community art, relational practices – and anthropology uses the languages of contemporary art to produce his researches and his representations. IMPURE will be a meeting space between community, territory, social instances and artistic research, and a space of reflection on the capacity of art and anthropology to collaborate within art-anthropological projects. IMPURE aims to promote the ethnographic approach to art. The meeting space between communities, territory and artistic research. The look to communities by a group of multidisciplinary research by researchers coming from the field of visual arts, of performing arts, of anthropology and visual ethnography. The project aims to promote and collects researches that makes use of an anthropological approach to art to find common points for the interpretation of complex social phenomena. The collaboration between artistic practice and anthropological research acts in social interstices and succeeds to evoke dimensions that only anthropology and art together succeed to emerge in an aesthetic vision.

Salvatore Crucitti (Roma, 1998), visual and performance artist. He studied “Theories and techniques of audiovisual” at the Academy of Fine Arts in Rome, and then graduated in 2022 in “Directing” at the National Academy of Dramatic Arts “Silvio d’Amico”. Winner of the 2021 “European Young Theatre” Award for best show (Festival dei due mondo Spoleto). One of his latest theater projects (Ninnoli) obtained a special mention from the jury at the 2022 Scenario Infanzia Award. Since 2020 he has collaborated with Gloria Zeppilli, founding the artistic research duo “UCCI UCCI”. In 2023 he conducted his research at the Black Kit, the International Archive of Performing Art founded by Boris Nieslony, Cologne (Germany). He worked at the Societas Raffaello Sanzio Archive at the Comandini Theater in Cesena.

Francesco Marano (Napoli, 1958), anthropologist, curator and artist, is associate professor at University of Basilicata (Italy) where he teaches Anthropology & Art and Ethnography. Among his books: Camera etnografica. Teorie e storie di antropologia visuale (2007), Il film etnografico in Italia (2007), L’etnografo come artista. Intrecci fra antropologia e arte (2013). He is editor in chief of the journal Visual Ethnography, author of ethnographic documentaries selected in international festivals, and curator of residencies for artists and anthropologists. As an artist he has exhibited his works (video, paintings, installations) in Plovdiv, Timisoara and Matera.

Gloria Zeppilli (Civita Castellana, 1998) visual and performative artist. She graduated in “Sculpture” and “Sculpture and New Applied Technologies” at the Academy of Fine Arts in Rome, with the theses “Beyond the dominion” and “Notes and attempts for a hypertextual work” which she wrote with the supervisor Paolo Canevari. Since 2020 she has collaborated with Salvatore Crucitti, founding the artistic research duo “UCCI UCCI”. In 2023 she conducted her research at the Black Kit, the International Archive of Performing Art founded by Boris Nieslony, Cologne (Germany). She worked at the Societas Raffaello Sanzio Archive at the Comandini Theater in Cesena.

Martina Macchia (Giulianova, 1997) is a curator and Ph.D. candidate in Culture, pratiche e tecnologie del cinema, dei media, del teatro e della danza at the Academy of Fine Arts in Rome and the Roma Tre University. From 2024 she is a member of the Scientific Committee of RAVE East Village Artist Residency, with which she collaborates as project assistant since 2022. She curated and co-curated exhibitions at Palazzo dei Capitani in Ascoli Piceno, Italian Cultural Institute in Cologne, MAD Murate Art District in Florence, and Central Institute for Restoration, Aranciera di San Sisto and Carlo Bilotti Museum in Rome.

Elena Zottola (Maratea, 1995) is a photographer with an anthropological background. She has exhibited at the EKKM Contemporary Art Museum in Tallinn, at the Italian Cultural  Institutes of Paris and Barcelona and at international photography festivals in Italy and Europe such as Fotografia Europea, Cortona on the Move and Festival Panoràmic. Her practice ranges from the themes of material culture, everyday life, memory and cultural transformations. Since 2022, she has been collaborating with the public art project A Cielo Aperto, Latronico.

Ilaria De Sanctis is currently Ph.D. candidate in Cultures and Practices and Technologies of Cinema, Media, Music, Theatre and Dance at the Department of Philosophy, Media and Performance, Roma Tre University. She took part in seminars and workshops developed by Roma Tre University, Italian Society of Aesthetics, Art Academy of Latvia, Hungarian University of Fine Arts, Museo Macro and Castro Projects. She also collaborated with JAR, Journal for Artistic Research, for the Society for Artistic Research. She now focuses on sound and visual dynamics of public spaces.

Miriam Colognesi (Turin, 1968), lives and works in Barcelona and Italy. She has an academic background and an experimental attitude reflected primarily through images. In his works she uses different media, including public archival materials, painting, photography, drawing and performance, mixing them to make them interact with each other. The projects arise from the analysis of social, natural and anthropological phenomena. His works are part of public and private collections.

Martina Musìo (Rome, 1998) is an artist, a former student at the Academy of Fine Art in Rome (2017-21), an Erasmus student at the Bauhaus Universitat in Weimar (2019-20), and currently a student at Global Humanities at La Sapienza University of Rome.  Her experimentation through words and languages pursues a poetic of the useless as a provocative reconfiguration of intrinsic dynamics inherent in different social behaviors. She applies a sculptural approach strictly entangled with critical theories such as Structuralism and Semiotics, with the intentionality of debunking static conceptualizations and forms of practice of common gestures. Her experimentation in particular with visual poetry works embodied the nucleus of her critical practice on art, which questions relations, minds’ paths, and communities.