auroraMeccanica was founded in Pisa in 2007 from the collaboration between Carlo Riccobono (1982) and Roberto Bella (1983) as an audiovisual production studio. 

In 2009 auroraMeccanica moved to Turin, and Fabio Alvino (1989) joined the group. The collective concentrated their energy on the creation of interactive video installations intended for the arts circuit. 


In 2010 aurora was among the winners of the Premio Gemine Muse award. In 2011 they won first prize at the Anzio and Nettuno Biannual Festival and were finalists for the Premio Celeste 2011 award.

In 2012 they won the Premio Pav award and participated in Parallel Events of Manifesta 9 and at the 54°Esposizione Internazionale d’Arte (54th International Exhibition of Arts) at the Castle of Saluzzo, and in a number of personal and collective expositions.

2013 was a special year due to both a fruitful collaboration with the Polytechnic University of Turin and the Castle of Rivoli and for the piece Il mondo di Lorenzo, a multisensory exhibit on autism which recreated the world as seen through the senses of an autistic child.

Directly following this experience, interactive exhibit design work intensified. The technologies the artistic field was experimenting with were being applied to temporary and permanent exhibitions in museums. The reflections that matured overtime on the relationship between spectator and technology became a solid cornerstone in the design of each individual set-up.

The group also grew in number with the admission of Giovanni Giordano, Selenia Grossi, and Giulia Zucca. Due to their precious contributions, from 2015 to 2018 aurora was contracted for more than 20 projects, including the following collaborations in Turin: Musei Reali, Museum of the Risorgimento, The Academy of Sciences, The Museo di Antichità, and the Urban Center, and outside of Turin: The Triennale of Milan, Niguarda Hospital, Milan Design Week, and the Rotonda della Besana.

Among the group’s most recent projects is the exhibition “Che Razza di Storia” at The Foundation Polo del ‘900 in Turin, an interactive exhibition marking 80 years since the promulgation of racial laws. The exhibit was visited by the President of the Republic, Sergio Mattarella.

In July 2019, the exhibit “Senza Limiti oltre i Confini” dedicated to mountain films at Turin’s Museo della Montagna was inaugurated while in September of the same year, the Museo Popoli e Culture of Milan was inaugurated with a permanent interactive technology display.

Working method

Our method focuses on active public participation: poetics, aesthetics, and technology work to emotionally engage the spectator.

The masterpiece is the itinerary:  the technology is invisible, evoking wonder and emotion, working towards the goals of the installation, which change case by case, according to the client’s needs and in line with the possibilities of the space and effects available. In all of auoraMeccanica’s site-specific installations and interactive museum displays, we work to “hint at the invisible”; today, museums aren’t just the material places of culture, but they are ever more really and truly cultural habitats; essentially places, where, not only the electronic apparatus comes together with the virtual and physical spaces, but also the subject matter and the experience of the visitor are involved.

Fabricating museum spaces isn’t just about optimizing the space for hosting the objects: it moves from the object to the story around the object, to give more space to the relationship that the visitor establishes with the object itself.

Multimedia technology has the capacity to evoke otherwise impossible narratives and contexts. The use of multimedia enhances the contexts that surround the finds at their origin, it emphasizes the actions that accompany its story, it recomposes a story around which the object can be contextualized, and it forces the object out of its immovable sacredness. The evocative and emotional value of multimedia amplifies the didactic value of museum itineraries. Entering a museum in this way is like entering a story, you not only read and see it, but you live the museum.



Multimedia Methodology



  • Active and Participative Role of the Spectator

The works become experiences, being themselves the containers within which the spectator becomes involved. The museum’s collection becomes a story where the spectator is called to an active role; co-protagonist of a system that amplifies and harnesses the cognitive and sensorial potential of the collection.


  • Socializing and Ritualistic Dimensions

The design of the environment and staging of the pieces are a better fit for collective rather than individual use. A place where choices are the results of the experiences of more people. The story proceeds due to collective decisions so that next to the relationship between human and technology, we also experience the person to person relationship. 


  • Technological Devices are not shown

In the design of exhibition spaces, the technological devices are not the focus of the exhibit; however, they make their effects felt. The visual presence of the machines is decreased to enhance the delicacy of the environment creating conditions of normality and familiarity.


  • Natural Interfaces

We research and test interactive devices that react without the use of technological prostheses (mouse, keyboards, etc.), but through the use of traditional modes of communication like the use of touch, voice, or a gesture, to create greater familiarity in the use of the multimedia contents.

Keep in touch

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