Michele Bressan

26/04/2026

Heartbroken (2026) is both a performance and an installation by Michele Bressan. The work involves a modified medical stethoscope, to which an amplifier and a custom casing have been added. The heartbeats it captures are passed through a distortion pedal and ultimately into a speaker, generating an immersive and powerful sound installation. The work is directly tied to the artist’s state, becoming a representation of a current emotional condition. Although it originates from a deeply personal experience, the piece - whether presented as video documentation of the performance or as an installation – can function as a universal interface, capable of evoking empathy for similar emotional states.

6 likes, 4 comments. "Heartbroken (2026)"

17/03/2026

"Loneliness has followed me my whole life. Everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man".

omul_negru_2 (no sleep - self #4)

50x70x4 cm • custom made full inox metal frame • pigment print on hahnemuhle 300g baryta paper • uv treated glass •

framing by

16/03/2026

tre (2026)

45x35x3 cm / 9x6cm each print • archival print on hahnemuhle cotton based paper • 3mm passpartout • uv treated glass • custom frame

framing by

15/03/2026

display for bad memories_1 • 2026

120x85x14 cm • inox • glass vials • broken glass

bad memories are like tiny pieces of sharp, broken glass - you would find them everywhere.

metal structure by

13/02/2026

omul_negru / 2026

27x27x4 cm • hahnemuhle cotton based paper • uv treated glass • oak wood custom frame.

framing by

02/06/2025

Self #4 / 2025

60x20x14cm • paper collage • concrete • custom metal frame • UV glass

frame & structure by

06/11/2024

A journey of around 9,000 km by car, from New York to San Francisco, spread over one month. Dozens of cities and hotels—visually overwhelming, yet often boring. Initially, the plan was to trace events related to the upcoming presidential elections, but the trip gradually evolved into something different. It’s tempting to say it captured some form of “American Beauty,” (yeah, the plastic bag, you know it) but for me, it was more about avoiding those clichéd Americana shots—those good images that are really just echoes of classic American photographers embedded in our subconscious. A few such shots did slip into the They Americans project, but I eventually focused on something else.

•Sorry, We’re Closed•
What struck me most was how quickly, after leaving a major city, you find yourself drifting through an endless landscape. So many small, isolated towns—tiny communities scattered in the middle of the desert or along highways. Many of these towns were nearly abandoned, resembling movie sets. Sidewalks lined with shops bearing “Sorry, we’re closed” signs, likely for years. Some shop windows still displayed items from their last setup, while others were completely empty. The reflections of the surroundings in the windows blended everything into a new kind of scene, in a sort of dioramas illustrating the present state of these places within the larger frame of the actual American reality.

https://www.instagram.com/michele_bressan/
https://www.instagram.com/they_americans/

06/11/2024

https://www.scena9.ro/article/foto-they-americans-alegeri-statele-unite

America pre-electorală văzută prin obiectivele a trei artiști români, care au străbătut Statele Unite de la Est la Vest timp de o lună.

15/07/2024

New website / same (old) me > check it!

cargo.site

15/06/2024

Few exhibition views for the Switch Lab project I've curated, Going On. Focused on young Romanian artists working with photography, especially students or recently graduated. The works are exhibited at the University of Arts and Applied Science in Bielefeld, Germany until july 4th. Even if the project is a private initiative by SwitchLab it developed into a collaboration between the two photography departments / UNArte fvpci

The catalogue soon.

artists> Vlad Albu, Craița Niga, Alexandra Cojocaru, Răzvan Șumilă, Teodora Rotaru, Nadina Stoica, Teodor Georgescu, Petra Maria, Roxana Morar, Eva Chapkin

Funded by Institutul Cultural Român / Romanian Cultural Institute