In July 2018, I started collecting information about the situationist movement in Italy. I found myself reading an article about art without artworks which cited A. Savorsky -a Russian artist- as founding member. However, little was known about this mysterious artist. My research took me to Vietri, a small village in the suburban area of Salerno in Southern Italy, where Savorsky worked as ceramist. There I only managed to collect limited information while getting in contact with Savorsky’s only descendant, Valerio. He experienced sporadic contacts with his grandfather and his accounts of facts and places presented several omissions.
The project aims to investigate the limits of memory and its loss. Our mind allocates memories in a chaotic manner; since the beginning of the century, Surrealist artists dig in between the plies of human memories to bring back stories from an unconscious mind. Indeed, the Freudian so-called Faux Souvenir (fake memory) is often altered by external inputs and new experiences. With this in mind, I interviewed Valerio, trying to gather information about his last encounters with his grandfather A. Savorsky. Together we tried to elaborate a document in which we assembled different bits from his memories trying to describe the artworks Savorsky produced.
Fragments deepens the concept of Faux Souvenir in the age of machine processing, using an A.I. to suture and connect memories from Valerio’s various experiences to reconstruct new images as a scar tissue replaces a wound. The final output is a distortion of the memories revealing an attempt of the machine to fill the gaps between the fictitious and the real. Specifically, the AI fed summary information through the only piece of writing Savorsky left behind, eventually agglutinating errors and loss of the original memory/object and resulting into unpredictable artefacts.