Studio Tonnato and I transcended borders and boundaries by connecting through ancient natures and storytelling. We spoke of ideal collaborative partnerships, plans for repercussive works and forming religious sects. Influences comprising Vasco Rossi stage shows, screaming socks and unfound little miracles traced energetic comparisons between Mac DeMarco and WWE. Our interview was as eclectic as this Venetian-founded studio and serves only to highlight the power of these brilliant minds when working at once in opposition and collaboration.

Hey Giordano and Federico, thanks so much for taking the time to talk with me !
First things first, tell me about how you met…I think it was at the Venice Academy of Fine Arts? When was the moment you both knew you wanted to create Studio Tonnato together?

We actually met before the academy in a particular circumstance. In Venice at night there is a beautiful youth initiative that could be defined as a clandestine boat race. Behind the Giudecca (which is the long island overlooking San Marco) there is "Il Miglio". Il Miglio means “The mile”, and it’s the distance that separates two large wooden poles used to delineate the navigable stretches of sea. The Venetian boys do what Dominique Toretto would do if he were 16 and a boat: He would put a LED with the colors of the Italian flag underneath his boat and challenge the other boys. So we found ourselves one night side by side, to test our engines and our courage. We nodded at each other for the first time and started at the signal. We don't tell you who won but after the race we stopped for a drink. Later we started the academy and decided to found StudioTonnato. When the tips of the boats rose to point at the moon, together, we realized that our boats, like their owners, were connected. StudioTonnato was born that night in the middle of the sea, everyone on his boat already knew it.

Your name is Studio Tonnato, tell me a bit more about this. Is it your favourite food ?! Where did this idea come from ?

Exactly. The Studio owes its name to the most refined dish in existence; the tuna sauce. We like it so much that we make pasta with it. In fact, if we fail as artists, we will open a restaurant with recipes based on tuna sauce, somewhere in South America.

How does your creative process work? Are there research elements and influences that you each specialise in and bring independently to the table?

We play a lot on our relationship. It is like that old image that tells the process of net art in which art is born at the intermediate point between two connected computers. For us it is the same. We both bounce the idea until it takes shape in an intermediate space, between the two. Research is fundamental, Giordano is a refined person and a great connoisseur of pixelated images, I am more the one of thunder and the apocalypse, the rest is in the middle

In your artists’ statement you mention the “power of the imaginary” - this sounds like you are super connected to your child-like brain and the fantastical view of the world we have when we let ourselves dream. How do you keep exercising this part of your brain and yourselves ?

You used a keyword, exercise. In our practice the exercise is daily and continuous, it is about never turning off the switch that regulates that part of the brain and continuing to use it until this childish and dreamy world enters your reality. It can be extremely scary, but it's like a bad trip, if you embrace the experience you'll be rewarded by riding a blue-eyed winged dragon. We also have a special method for this, but only our third level adept know about it

Does your friendship and close bond enable you to feel freer in your personal and collective creation ?

In reality we are not friends, indeed. I believe we can consider ourselves enemies. The desire to destroy the other is the main engine of our work. The Romans said "keep your friends close and your enemies even closer". We have absorbed this principle and founded a Studio on it. We often find ourselves trying to poison or sabotage ourselves in a gory way. This constant "Memento mory" pushes us to work and create immortal graphics, because everything we do could be the last. We find that working with one's enemies is the best path to greatness. What would happen if one of us were to perish in a “Golpe”? We don't know, but that's what we're going to try to find out.

Which are the most important parts of “ancient nature” informing your work? Where do you find new inspirations?

We find it quite difficult to say, inspirations are everywhere there is something disturbing and deeply embarrassing. Especially in that "ancient nature" that we tend to want to hide in a dark corner. We talk about ancestral issues, the natural fear that the roar of a lion causes but also the deep-rooted fear of feeling unsuitable, different, marginalized.

Can you tell me some more about your creative influences - musicians, painters, photographers etc?

From an aesthetic point of view, the list is endless. Rather speaking from an attitude point of view I would say Jon Rafman, Alex Da Corte and John Kilduff. Then there are a lot of different landmarks, definitely the whole Adult Swim school, which is true avant-garde, people like Eric Andre and Tim & Eric. Then there are Elio e le Storie Tese, an Italian band that carries on the musical concept of Frank Zappa, but also Pop X or Mac DeMarco. But also Takashi Miike, WWE and who knows what else passes in between.

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If you could collaborate with anyone who would it be?

So on the spot I would say the guys of Alterazioni Video, we saw some incredible things at the last Venice Biennale. I would also say RayBanhoff, an amazing Italian photographer who shoots characters from the margins, such as doubles. Then there is Loris Gentile, who has an incredible aesthetic. People like Eric Andre would make sparks with us, also the very dangerous Mara Oscar Cassiani, the sensual Rosario Gallardo, the brilliant TeaHacid, the Tytm8 who make screaming socks, Ditto London and the list gets longer.

In general we are open to all possible collaborations: for us even the common man is not common. So if you are reading this interview and feel you want to work with us ,come forward little miracle. We are here for you.

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What is your next project? Has corona affected your practice or are you still able to manifest your dreams in the biggest way possible?

Covid has certainly influenced our work a lot. The ultimate purpose of art is to create connections and repercussions in real life. What is a Vasco Rossi song if there are no tattooed girls throwing their bra at him under the stage? We don't want people to listen to metal music in their bedroom, we want them to gas like a beast in their bedroom and then go out and beat themselves up with their drunken friends. There is an Italian song that explains it well:

““Sai perchè mi batte il corazon? Ho visto Maradona, ho visto Maradona! Eh, Mammà, innamorato son!””

Everything we do is in connection with people, by removing that real connection the work ceases to exist or at least reflects an ugly image of itself. We want people to see Maradona sooner or later.

As for the next project, we would like to experiment in the religious world, found a religious sect so that we don't pay taxes, and try those sacrificial rites that everyone talks about.