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In this series, in which obsolete warfare communications hardware seem to be glorified by Mancioli's composition, the spectator is invited to reflect upon the state of modern means of information.


The Ludics series won the Funarte Artes Visuais São Paulo prize in 2008. It was shot in land mines warehouses in Cambodia in 2002. Decades after the horrors inflicted by the Khmer Rouge regime, a high number of land mines are still buried and active, causing deaths and mutilations, especially of children, who play with them, as if they were toys. 

The images superpose negatives and positives, and are printed on a transparent film applied on aluminum foil. The visual effect suggests a possible way that children see these objects: a bit surreal, hypnotic. This series reveals recurrent signs in Mancioli's work, such as memory, and reality and fiction.


The Solitary series was shot at the Berlin Hohenschönhausen, a former prison of the East German Ministry of State Security, also known as STASI. The prison was primarily used to house and interrogate those who wished or attempted to leave East Germany, although political prisoners were also held there. The prison was used until the fall of the Berlin wall, in 1989.

By giving light to this not-so-distant memory with aestheticized images, Mancioli wants us to reflect upon our own contemporary states of isolation and suppression.

of desire 

This series is the photographic reproduction of the remains of one of Mancioli's early portfolios (2003), that decayed because of mould. He would show it to art galleries and often get a feedback that his work is too broad in languages and meanings, and that he should focus on what he really wants to say. He agreed. With time and mould, these old heterogenous series ended up unifying by creating a new discourse.   


The Through series relates to the functioning of the unconscious memory. The spy hole works as an interface between the observer and the observed, raising questioning about presence and absence, the inside and the outside. It reveals important signs of Mancioli's work, such as memory, isolation, as well as reality and fiction in human relationships.