Azioni, emozioni, diverse reazioni e trasformazioni, sono figure dell’immaginario che descrive un’ immagine del mondo attuale, penetrando una condizione umana con amarezza, speranza, differenze, individualità, insieme, alienazione e ironia.
Actions, emotions, different reactions and transformations, they figure out the current world, penetrating a human condition with bitterness, hope, differences, individuality, togetherness, alienation and irony.

Il Film

“Due tuorli d’uovo, zucchero a piacere, siate abbondanti, sbattete fino ad emulsionare in un solo senso, meglio se antiorario. La pena dell’uomo è il dono del pensiero, la sua fortuna è coniugarlo nella pratica, come quella di sbattere un uovo. Non è forse una crema la vita?”
“Two egg yolks, sugar as you prefer, be generous, beat until emulsifying in one direction only, preferable counterclockwise. Human’s pain is the gift of thought, his fortune is to combine it in practice, like that of beating an egg."
"Isn't life a sweet cream?"

Cinque personaggi, cinque prove, un racconto scritto a quattromani da un'artista e un giurista di formazione parigina. Cosa accadrà il giorno del provino? Un mescolarsi esteriore e interiore di verità scomode, di vite simili, di brillanti intuizioni che fanno perdere il segno. Tutto ciò si unisce, vorticosamente, in un fine comune, il tracollo emotivo, la verità sconvolgente delle nostre origini sanguigne, la piega morbosa del nostro limite umano, l’ottuso ripetersi del pensiero, la nostra pena. Beaten Egg è un esercizio, un inno alla pratica, la stessa che è cura contro la pena dell’essere umano, il pensiero vacante e intangibile che ci accompagna durante la nostra esistenza. Beaten egg è un augurio, un messaggio sociale di ritorno all’essenza.

Five characters, five auditions, a story written together by an artist and a Parisian jurist. What will happen on the day of the audition? Mixing of uncomfortable truths, of similar lives, of brilliant intuitions that make you feel lost.  All of this unites, swirlingly, in a common end, the emotional meltdown, the shocking truth of our blood origins, the morbid fold of our human limitation, the eighty repetition of thought, our pain. Betaen Egg is an exercise, a wish to apply practice in our life, the same which is the cure against the pain of the human being, the vacant and intangible thought that accompanies us throughout our existence. Beaten egg is the wish, a social message back to the essence.

︎ Film scene

︎ Film event presentation hosted by Kristalia Club, supported by Mr Bio Wine and

L’ Art Collection

Beaten Egg è anche una collezione d’arte, con tutti i medium dell’artista Matete Martini. Le opere sono ispirate dal film, ne contengono la poetica, riportandola visivamente attraverso rielaborazioni visive. Vetri ispirati dalle architetture di scena, opere pittoriche che si concentrano sulla sintesi più emotiva di Beaten Egg e quindi della sua umanità e caducità più profonda, le opere fotografiche più spesso retroilluminate come situazioni installative attraversano lo spazio con immagini tratte durante le riprese del film.
Beaten Egg is also an art collection made by all the artist’s mediums. The collection is inspired by the movie, It contains It’s poetic, Matete wants to visually reporting Beaten Egg’s topics through visual reworkings. Blow Glasses are inspired by the architectures and the relationship between space and human, pictorial works are focus on the more emotional part of Beaten Egg and therefore of his deepest humanity and transience, the photographic works more often backlit as installation situations cross the space with images taken during the making-of of the film.

La Glass Week 2023 con Signoretto Lampadari srl

Der Fensterputzer (il lavavetri): un luogo della mente e della memoria dove cercarsi e perdersi, tra labirinti tracciati con i petali o sotto una pioggia di fiori, mentre, sospeso alla parete di un grattacielo, su un ponte di bambù, un lavavetri osserva donne e uomini in movimento incessante. “Una personale geografia dell'anima sulle città del mondo.”

︎Collezione Beaten Egg.

Matete Martini
Signoretto Lampadari Srl

Curation by Costanza Longanesi Cattani
Spazio Spaziale

The Window Washer represents the second chapter of the Beaten Egg series,
a sequel to the artist’s eponymous film directed and produced in 2022, of which the exhibition serves as the tangible and sculptural counterpart.

Matete Martini, during Glass Week, unveils a new series of works titled Beaten Egg, created in Murano at the ancient furnaces of Signoretto Lampadari Srl.

Beaten Egg introduces a new symbolism into Matete’s cosmology, rich in autobiographical references: the memory of the beaten egg preparation

by the artist’s paternal grandmother. While in the film, the egg is captured in the hypnotic and repetitive act of being beaten, in The Window Washer, it becomes an immobile sphere that crystallizes the existential metaphor of contemporary urban human condition. The egg, or the sphere, represents the common denominator of all of The Window Washer’s production and is the poetic translation of human alienation in society.

In the series of sculptures, the sphere - the human - is paired with other glass scenic elements, such as a theater armchair, a mirror, a movie screen, and a box. Beaten Egg is an invitation to self-analysis, an introspective act that culminates in self-discovery and self-acceptance. Often, this awareness has a bitter and ironic taste. In this process, the box represents the moment of interrogation, the mirror compels comparison, and the armchair can refer to both the psychoanalysis couch and the cinema seat.

These pairs - man screen, man mirror, man box, man chair - invite reflection on the role of image in the stage of multimedia society life. Through his work, Matete Martini emerges as a theatrical director of a world where interchangeable media converge: from filmmaking to canvas painting, from glass production to digital content production, from sculpture to interior decor, from photography to styling. The eclectic artist, Matete, like the viscous glass material, changes, ranging from one medium to another, becoming a curator

of the world and filtering the image through an aesthetic approach.
An important influence on the imagery of Beaten Egg is the production

of the famous German choreographer and dancer Pina Bausch, from whom the exhibition title, The Window Washer, pays tribute to her performance Der Fensterputzer, 1997. While on one hand, Bausch celebrates and simultaneously ridicules the frenzy of the metropolis, the repetitiveness of daily routine, and the complexity of our existence; on the other hand, Matete tells the urban history’s poetry in glass that the great Master represents in dance.

Furthermore, Matete uses the bucket as a scenic paradigm and an installational object. The Window Washer gains another meaning and becomes an expedient to ironically suggest the act of cleaning the glass works themselves, an autobiographical reference to the preparation for the Venice Glass Week. The Window Washer suggests a form of interaction crucial for activating the installation’s meaning. In this way, the artist, but also a hypothetical owner, when cleaning the artwork, become performers and enactors of an artistic gesture. Matete also explores the relationship between reality and image, pictorially representing the bucket, which shifts from an object to a subject of representation.

︎︎︎THE WINDOW WASHER, curated by Costanza Longanesi Cattani, is an official participant in Venice Glass Week 2023. The Window Washer will be held from September 9th to September 30th, 2023, from 6:00 PM to 10:00 PM, at the interdisciplinary art space SPAZIO SPAZIALE, located at White Rabbit Cannery, Fondamenta de la Sensa, Cannaregio 3219, Venice. The exhibition will open on September 15th, from 7:00 PM to 10:00 PM.

Watch on tv ︎︎︎

The Screen constitutes the third episode of Beaten Egg, a transmediaexhibition series by the artist Matete Martini, curated by CostanzaLonganesi Cattani. The exhibition represents the development of theeponymous medium-length film written and directed by the artist,which, at the NonostanteMarras space, becomes its exhibition andtangible counterpart.

With Screen, Matete expands the boundaries of staging, movingfrom film to exhibition. The subjects and objects portrayedin Beaten Egg break free from the confines of the screen andthe two-dimensional dimension and come to life in reality. Matete emerges as the theatrical director of a universewhere interchangeable media converge: from cinematicdirection to painting on recycled Marras fabrics, fromcement sculpture to mannequin styling, from theassemblage of object trouvè to interior design, fromthe elaboration of digital content to photography

Matete emerges as the theatrical director of a universe where interchangeable media converge: from cinematic direction to painting on recycled Marras fabrics, from cement sculpture to mannequin styling, from the assemblage of object trouvè to interior design, from the elaboration of digital content to photography.

The artist's investigation traverses the liminality between disciplines and goes beyond the realm of aesthetics, conceived with clear intentions to represent the artist's introspection and intimacy. Each incarnation in a different material adds layers of meaning that converge into a single narrative.


Beaten Egg, the film, written with Giulio Bertolo, shot with Maurizio Polese, and directed by Matete, presents itself as a cinematic artwork that introduces a new profound symbolism into the artist's cosmology: the memory of his paternal grandmother's beaten egg preparation. The curtain rises, the film begins: A repeatedly beaten egg in a bowl introduces the protagonists: Hans, Leone, Lora, and Palermo. These four characters find themselves in the cinema for an audition, but their wait transforms into an introspective experience.

They forget the reason for their presence and wander through the cinema, merging with it like beaten eggs. What emerges is a surreal representation in which the characters abandon themselves to their streams of consciousness, blending external and internal truths, and exploring the boundary between appearance and reality in an atmosphere almost reminiscent of Pirandello.

Beaten Egg reveals itself as an invitation to self-analysis, an introspective act culminating in self-discovery and self-acceptance. The egg and the sphere, recurring motifs, represent the synthesis and common denominator of all of Beaten Egg's production, poetically translating the individual's alienation in society.

If in the film, the egg is cyclically in motion, in Screen, it crystallizes in: oil on wood with Provino, in Marras fabric with Attesa, and in ceramics with Uova di Colombo.


Matete approaches the audiovisual medium as his artistic language par excellence: painting. For the artist, the Screen of the cinematic screen becomes a canvas on which to paint with photographic images and symbolic objects. Investigating what constitutes a work of art, Matete joins a tradition of artists rooted in experiments titled Schermi by Fabio Mauri, a master of post-war avant-gardes and the first artist in history to produce a screen as a projection surface and as a subject of representation.

In addressing the concept of the screen, Matete joins a deep-rooted artistic tradition in the experiments of masters such as Fabio Mauri. "The screen as a projection surface" and "The screen as a subject of representation." On the other hand, the "site-specific" canvases created for the exhibition at the NonostanteMarras space challenge the conventions of traditional painting surfaces. These canvases deliberately present themselves with fabrics not correctly stretched, but off-center, dislocated, manipulated, and transformed into sculptural objects.

The exhibition merges the screen into subject and object, middle and end, support and content. The same subjects from the film emerge in the exhibition as objects or fetishes, generating a double movement of entering and exiting between the screen and the real world.

Matete directs and projects the film in the Sala Modotti of CinemaZero. The artist Matete aims not only to represent a cinematic work on the cinema screen but also the cinema itself, from which the spectators observe it. This concept evokes a sort of box within a box, where the visitor finds themselves fully immersed in the representation. The scenography is filled with objects and details, turning the experience into a true "cinema within a cinema." The result is a journey into an intimate world of self-reflection, where the viewer is immersed and involved, actively contributing to the creation of the work's meaning.

The exhibition encourages viewers to explore the boundary between the material and the immaterial, and Matete's poetics glide between the fabrics of cinema and those of canvases, to the transparent stockings that "dress" the cement sculptures and the silks of the stage costumes.

Beaten Egg is a practical exercise that arises from the artist's years of reflection, as evidenced by the starting point, Gesture, one of the artist's early works that places the gesture at the center as an act of care."





Francesca Martini

Workshop program