audiovisual artist & filmmaker
ciucioflorinda@gmail.com
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Florinda Ciucio (Antwerp, 1993) is a visual artist and filmmaker from Belgium. She graduated from LUCA School of Arts in Brussels as a film director. After directing several short films, she developed a practice in video art and installation work.
Influenced by her background in cinema, she works with fixed frames, darkened spaces, and suspended time. Working with time as a central element, she uses rhythm, repetition, and routine to create slow, attentive moments that highlight the process of looking, listening, and paying attention in an overstimulated visual culture.
Her current research examines our relationship to landscape and technology, creating work that functions both sensorially and critically. Through this, her work engages with landscape as a constructed and mediated space, where technological processes actively shape how reality is seen, understood, and experienced. She uses media such as film footage, CGI, AI, archival video, sound design, photography, and spatial installations.
CV
FLORINDA CIUCIOTHE MEMORY MACHINE
THE MEMORY MACHINE
2025, 25’, two screen video installation
in collaboration with Joëlle Dubois
Supported by Flanders State of Arts
DESCRIPTION
THE MEMORY MACHINE is a two-screen installation exploring memory and mourning moving between physical action, a ritualistic choreography, and inner thought, an associative stream of images.
The first screen draws you into a cycle of relentless, almost Sisyphean ritualistic actions performed by Joëlle Dubois, who recently lost her mother to Alzheimer’s. Set in a bucolic landscape, she attempts to summon something buried deep within, through repetitive gestures, including ringing a bell with a headpiece, submerging herself in water, and cutting her hair. The actions feel like a desperate plea to reach something or someone beyond.
You can hear Dubois reading fragments from her diary notes documenting activities she shared with her mother during visits. As she speaks them aloud, the notes evolve into a meditative auditive mantra, accompanying the choreography.
The second screen shows a stream of images that appear and dissolve like surfacing memories, fluid, shifting, almost hypnotic. It combines associative imagery with VHS footage of Dubois’ childhood and iPhone recordings from visits to her mother, layered with a brown noise soundscape, reflecting how memory is reshaped and distorted over time.
Through this, Dubois and Ciucio explore the power and powerlessness of holding on and letting go, and the quiet sorrow of fading connection.
A subtle feminine undercurrent runs through the work, where tenderness and strength coexist, offering alternative ways of experiencing ritual and mourning. THE MEMORY MACHINE becomes an exploration of loss and memory, and a meditation on the embodied, gendered nature of remembering and mourning.