Synopsis: EMI is the optimal performance tool. Her sublime productivity is seemingly unbound by basic human needs. EMI is a virtual influencer. EMI eats, EMI secretes, EMI generates.

The project: Embodying the concept of beauty and perfection, EMI is an adored virtual influencer until the day doubt creeps in. What if the trend was to look less and less like a human being? CGI, AI image generators, a program created to automate video processing, but also traditional techniques such as live shooting or FX make-up, EMI explores different methods in an atmosphere of viral vlogs and colorful selfies. EMI is a hybrid project that includes a short film and a web page with NFTs.

https://emi.nevergone.cloud/

The emi.nevergone.cloud webpage is an outgrowth of the EMI film, extending the narrative into another space and time. People can own a part of the influencer’s physical body, thereby becoming the guardian of one of her organs. Each organ comes with a short description that follows the codes of an autopsy. The NFT edition fully embraces the consumerist codes of influencers. Behind its seductive form, the EMI project explores the increasing capitalization of the body, online, inviting us somewhere on the edge of the beautiful and the repulsive, the real and the fictitious, the living and the dead.

Production: Le Fresnoy – Studio National des Arts Contemporains with the support of Fédération Wallonie-Bruxelles.

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The concept of Backup, a natural progression from that of Habitat, is most closely tied to the 2023 concept album Arca (as Ottodix), which also inspired the artist’s interdisciplinary DVRI residency across Venice. In the album, Zannier envisions a vast space ark—its form recalling both Noah’s Ark and the turtle Chelonia mydas—as humanity’s imagined refuge.

This work acts as a black box containing the DNA of a place: habitat backups stored against catastrophe, seed-capsules designed to be sown elsewhere, enabling future generations to recover the deep essence of a lost landscape—its maps, history, artworks, environmental data, species, and archives.

Zannier’s earlier project ENT, linking environmental data between Italy and six continents, began between Venice and New Zealand and concluded in the United States, entering the collection of the Italian Cultural Institute in New York with the support of international curator and architect Alessandro Melis.

He also collaborates with universities and research institutes worldwide, producing artistic and sound-based investigations into complex systems and the interplay between nature and society. Under his musical alias Ottodix, he has released 8 concept albums, 2 collections, and a biography, a pioneering project in Italian electro-alternative music. Today Ottodix concerts bring science, philosophy, and environmentalism into cultural and museum spaces.

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