Napuleth Visions is an exhibition project that fits into the context of Napuleth with the aim of creating a platform for exchange between the cryptocurrency world and the contemporary art system. The project aims to become a recurring event, exploring the intersections between the digital economy and artistic practices to foster a critical dialogue on the transformations of value in the era of decentralization.

Napuleth Visions is an innovative initiative, born from the energy and vision of a group of highly qualified young creatives, with skills in both art and technology. The exhibition is not just an exhibition event, but a stable meeting point between art and innovation, destined to grow and transform year after year. The long-term goal is to develop tailor-made technological solutions for the art world, redefining the ways of enjoying and producing art in the digital era.

First edition of Napuleth Visions 2025

Foresta Di Cristallo

Curated by Alessio Esposito

From 17 to 19 July 2025, in the spaces of Villa Doria D'Angri in Naples, Foresta di Cristallo, the inaugural exhibition of Napuleth Visions, comes to life. The exhibition brings together the works of Clarissa Falco, Lorenzo Lunghi, Adriano Tenore and Emilio Vavarella.

The title of the exhibition is inspired by J.G. Ballard’s novel The Crystal World (1966), which describes a reality in which nature crystallizes, dissolving the differences between living beings and objects. This metaphor guides the reflection on contemporary transformations in which traditional boundaries are blurred: between human and non-human, real and digital, aesthetic and economic.

Foresta di Cristallo explores, through the works exhibited, the dematerialization of value and the redefinition of meaning in a world in which art, technology and digital economies intertwine in new forms of relationship and mutation.

Artists

Clarissa Falco

Clarissa Falco (Genoa, 1995) obtained a Master in Visual Arts and Curatorial Studies at NABA in 2020. Her artistic practice oscillates between visual and performative art, investigating the body as a device in dialogue with the machinic element. At the center of her research is the stripping of the visual identity of the subject, which transforms itself into the engine and gear of a system. In the performative dimension, the body-machine binomial manifests itself through automatic and repetitive gestures, inscribed in a constant and obsessive temporal loop. Among the most recent exhibitions: Crashing Ceramics, curated by Feng Boyi and Longquan Wangou, in China; 4003, Galleria Ipercubo, Milan (2024); Master Control Program, a performance with K. Jarnuszkiewicz part of the exhibition Adolf Ryszka. Space bears shadow, Zachęta, National Gallery of Art, Warsaw (2023); Maybe One Animal Bit It Twice at ScopeBLN, curated by Boris Kostadinov, Berlin (2023); Frictions, curated by Galleria Monti and Ilaria Monti at MUG Giannini Museum in Latina (2022); Mirrored in Spectral Machines, with Camilla Alberti, SpazioSerra, Milan (2022).

Lorenzo Lunghi

Lorenzo Lunghi (Crema 1993) draws his sculptural-performative practice from a DIY halfway between neo-Luddite imagery and science fiction alienation, in a magic-rudimentary perspective. After the BFA at the Accademia Carrara, Bergamo (2018), he obtained the MFA at HEAD, Geneva (2021). He was part of the DITTO collective (2016-2019), of which we mention the exhibitions: Eclissi (MACAO, Milan, 2018); Spettri (Villa Farinacci, Rome, 2018); Blind Date (Current, Milan, 2018). Since 2019 he has curated exhibitions and workshops in extra-urban spaces: Erbacce (Brugherio, 2020); Miraggio (Fontanile Fontanone, 2019). He has exhibited in various contexts, including: La Rada (Locarno, 2023); Manifattura Tabacchi (Florence, 2022); Plattform (Kulturhaus Palazzo, 2022); Giulietta (Basel, 2021); ANCONTEMPORANEA (Ancona, 2021); Localedue (Bologna, 2021); Palazzo delle Esposizioni (Rome, 2020); Sonnenstube (Spazio Morel, 2019).

Adriano Tenore

Adriano Tenore (Naples, 1991) is an Italian-French multimedia artist. With a background in Anthropology and Sociology, he develops research that looks at human culture as a set of scattered and discontinuous creative processes, but capable of converging in a shared flow of meanings. His broad and transversal gaze combines cultural and biological dimensions, exploring how evolution and technology shape our experience of the world. His practice focuses on immersive and interactive audiovisual environments, in which the meaning does not arise only from the contents, but also from the context and direct experience. At the center of his approach is a return to simple, visceral signs, capable of touching deep and universal emotional chords. Today he works as CG Lead and Art Director, with an increasingly marked interest in interactive design and immersive experiences based on Artificial Intelligence. His works reflect on the relationship between humans and AI, questioning the boundaries of transhumanism and experimenting with new connections between nature and technology. Among his most recent exhibitions: Water me (2025); Synthetic Bestiary (La Santissima, Naples, 2025); Exodus (Fondazione Morra Greco, Naples, 2024; Casa delle Donne, Rome); ZTA (Naples); Kung flu (LightBox.NY Studios, 2018); Onironautica (Ex Asilo Filangieri, Naples, 2016).

Emilio Vavarella

Emilio Vavarella (Monfalcone, 1989), Ph.D. from Harvard University, combines interdisciplinary research with media experimentation. He is Assistant Professor of Media and Film Studies at Skidmore College (NY) and artist-in-residence at the Broad Institute of MIT and Harvard. His work has been exhibited at the 18th Venice Biennale (Italian Pavilion, Architecture), MAXXI Museum in Rome, Reina Sofia Museum in Madrid, the Hermitage Museum in St. Petersburg, The Photographers’ Gallery in London, KANAL – Centre Pompidou in Brussels, MAMbo in Bologna, Madre Museum in Naples, the Museum of Contemporary Art in Zagreb, Museu de Ciències Naturals in Barcelona, Museo Nacional Bellas Artes in Santiago, the Museum of Contemporary Art Vojvodina in Novi Sad (Serbia), MBAL Museum in Switzerland, the National Art Center in Tokyo, Eyebeam in New York, the Off–Biennale in Cairo, BJCEM – Biennale of the Mediterranean, and the Kiev Biennale. His films have been screened at the Toronto Images Festival, Torino Film Festival, Jeu de Paume (Paris), HKW – Haus der Kulturen der Welt (Berlin), and numerous media art festivals, including EMAF (Osnabrück), JMAF (Tokyo), Filmwinter (Stuttgart), and NYEAF (New York). Vavarella has received numerous awards and honors, including the Italian Council Award (2019) and the Harvard Horizon Fellowship (2023), and his work is regularly featured in newspapers, specialized magazines, and scientific publications.

With the Patronage of