The Garden of Eden, 2026

For the garden of Casa Sanlorenzo, Andreoni presents a site-specific 12-channel sound installation in which animal calls from air, earth, and sea intertwine with the sounds of machinery, engines, and electronic devices that—whether through malfunction or by their very mechanical nature—evoke almost organic presences, mimicking or resembling animal vocalizations. Interwoven as well are the sounds of animals imitating human artifice, such as the Australian lyrebird, renowned for its ability to imitate almost any sound, including chainsaws, alarms, camera shutters, and even human voices. What emerges is an ambiguous ecosystem suspended between authenticity and simulation.

Since antiquity, humanity has sought to understand the world and its own existence through the representation of animals: from the cave paintings of Lascaux to medieval bestiaries and Renaissance allegories, the animal has functioned as symbolic mirror, mythical figure, and epistemological device. Andreoni continues his research into memory, perception, and the threshold between presence and absence, transforming this ancient tradition into an immersive sonic painting. With this work, he places himself within the context of a millenary dialogue between human beings, technology, and the natural world.

Text by Sergio Risaliti and Cristiano Seganfreddo

video documentation (coming soon)