Nico Vascellari
The future doesn’t scare me; what unsettles me is the inability to live it with awareness
“Performance is nothing more than a sculpture in motion. Everything interacts, overlapping—sometimes even clashing”
Nico Vascellari is not just an artist but a catalyst of primordial energies, an explorer who merges nature, sound, and rituality into a multifaceted practice. His career is deeply rooted in hardcore music—an experience that continues to shape his aesthetic—before expanding into an expressive universe that spans performance, sculpture, installation, drawing, and video. His language absorbs influences from anthropology, folklore, and the alternative scene, translating them into powerful, tactile visions that often hover between the mystical and the physical. Now, his journey lands at Palazzo Reale in Milan with Pastorale, a major solo exhibition unfolding in the evocative Sala delle Cariatidi. Curated by Sergio Risaliti, the show—open from April 1st to June 1st—presents a single, site-specific environmental work. The very title, Pastorale, conjures a return to the land, the cyclical nature of the seasons, and the primordial rhythm of existence. It is a journey that delves into the tension between instinct and cultural construction, between tradition and experimentation. In this interview, Nico Vascellari takes us to the core of his research, exploring the evocative power of sound, the force of the body in action, and the ancestral call of nature. A dialogue that is not just artistic, but existential.
“Pastorale” is a title that evokes nature, music, and poetry. Why did you choose it?
“Pastorale” conjures up a layered imagery: it recalls nature, but also a sonic and ritual dimension. It is a title that does not define but, in evoking ancient ideals, speaks of the need for a new form of resistance.
The Sala delle Cariatidi carries a powerful history. What struck you the most while working in this space?
The Sala delle Cariatidi is a silent witness to a tragic past, and as such, its scars serve as a warning for the future. I am interested in working with traces, with what remains, and with its ability to transform. Absence, emptiness, and the memory embedded in its walls are not just a backdrop but an integral part of the work.
La mostra unisce performance, scultura, video e suono. Come fa a combinare tra loro questi elementi così diversi?
Non li considero elementi separati, ma parte di un unico linguaggio. Sono materiali, strumenti espressivi che emergono a seconda della necessità. Il suono, ad esempio, non è un accompagnamento ma un corpo nello spazio. La performance è una scultura in movimento. Tutto dialoga sovrapponendosi, a volte scontrandosi.
Il rapporto tra uomo e natura è centrale nel tuo lavoro. La spaventa il futuro? Se sì perché?
Il futuro non mi spaventa, mi inquieta l’incapacità di viverlo con consapevolezza. Il nostro rapporto con la natura è un confronto di forze, uno scontro tra la resistenza dell’una e l’incoscienza dell’altro. Questo conflitto è nel mio lavoro.
The exhibition brings together performance, sculpture, video, and sound. How do you combine such different elements?
I don’t see them as separate elements but as part of a single language. They are materials, expressive tools that emerge depending on necessity. Sound, for example, is not an accompaniment but a physical presence in space. Performance is a sculpture in motion. Everything interacts, overlapping—sometimes even clashing.
The relationship between humans and nature is central to your work. Does the future scare you? If so, why?
The future doesn’t scare me; what unsettles me is the inability to live it with awareness. Our relationship with nature is a clash of forces—a confrontation between its resilience and our recklessness. This conflict is embedded in my work.
Have you ever used your aura as an artist to seduce?
I’m not sure I even know the aura you’re talking about….
Unlike many of your peers, you have chosen not to rely on a single representing gallery. Why?
I believe an artist is defined not only by what they do but, more importantly, by what they refuse to do. For me, this is life before it is a career—it comes at a cost, but it also has value.
What did you dream of doing at 14?
I dreamed of spending my days skateboarding.
If your house were on fire and you could save only one thing, what would it be??
What’s left of Dodo, the stuffed animal I used to sleep with as a child. Only its head remains.
Plans for 2025?
A sculpture for Piazza della Signoria in Florence, a solo exhibition at the Kunsthalle in Bangkok, and a long trip to Namibia.
Portraits: Niccolò Campita
Interview: Germano D’Acquisto
Installation Views: Melania Dalle Grave DSL Studio
