“Welcome to your one-stop shop for lifelong connections. Friends, grannies, parents, partners, and babies — because every relationship should feel like a perfect purchase!” With this bold statement, we’re introduced to the Oggettivery Digital Catalog, which offers canonic figures with a twist. Artist Internette and filmmaker Alice Fassi pair up in this quirky and satyrical project that offer human-objects as a way of reflecting on the dystopian future ahead.
The video plays with clichés and preconceptions that are used to categorise each figure. For example, Granny’s perks include non-stop cooking your favourite homemade dishes, cosy hugs, or wearing perfumes to your liking, while Baby offers you to “finally experience parenthood without the burden of stress and guilt,” needs minimal care, and their poop has a honey-like scent. Convenient, isn’t it?
With a bright, toy-like aesthetic that combines vintage ads styles with the grotesque, the Oggettivery Digital Catalog has a twisted sense of humour at its core that aims at sending a deeper message: the alarming growth of individuality and lack of connection, as well as the interest-based motives to establish relationships. To know more about it, we speak today with Irene and Alice about the behind-the-scenes, their concerns for the future, and the power of collaboration.
Hi Alice and Irene, it’s a pleasure to speak with you. To make it fun, could you please introduce each other?
Internette: Hi, of course! She is Alice Fassi, my favourite Italian girl director! Her style is definitely the most original, ironic, surreal, and detail-oriented I’ve seen. These characteristics perfectly align with what I love in the video field and art. She manages to communicate something complex and unique, turning it into a fantastic show to watch. She is also a fun, sweet, and lovable person! <3
Alice: Hey, I like this game! Way easier than a narcissistic self-presentation. Sooo, introducing Irene Coccoli, aka Internette (her art name), a wildly creative mind that turns the most unusual things into art! For me, she’s like a tiny glittery fairy, a very precious human being, so genuine and full of love… even if we both share a passion for gross, spooky, splattery stuff!
Alice: Hey, I like this game! Way easier than a narcissistic self-presentation. Sooo, introducing Irene Coccoli, aka Internette (her art name), a wildly creative mind that turns the most unusual things into art! For me, she’s like a tiny glittery fairy, a very precious human being, so genuine and full of love… even if we both share a passion for gross, spooky, splattery stuff!
How and when did you two first meet, and how did that first encounter evolve into this artistic collab?
Internette: As often happens today, we first met digitally through Instagram, admiring each other’s personal work and style. As soon as we had time (or an excuse, lol), we made an appointment to have lunch together, and from there, we immediately had a great human and artistic connection. So I proposed to Alice to collaborate on my next concept, Oggettivery.
Alice: Yeah, Irene already explained it perfectly! We met once for lunch, and it was an instant connection. It’s one of those rare moments where the universe is like, yep, you two are gonna make cool stuff together. And we’re not only talking about work, but of course on human vibes.
Alice: Yeah, Irene already explained it perfectly! We met once for lunch, and it was an instant connection. It’s one of those rare moments where the universe is like, yep, you two are gonna make cool stuff together. And we’re not only talking about work, but of course on human vibes.
You’re presenting Oggettivery Digital Catalog, a quirky, humuours, satirical, and original project. How did this come to be? What were some of the initial ideas that you came up with during the first brainstorming, and how did you decide for this one?
Internette: Oggettivery is a project that I particularly care about because it is the result of my years of academic studies in multimedia arts. We often explored the evolution of media, their potential, and their effects on people. So, after graduating, I wanted to delve deeper into a thesis on the relationship between interfaces and people.
I experimented with a type of video narration that reflects my rather grotesque and dreamlike style and my interest in creating characters. I decided to involve Alice to add another creative vision to the video, specifically the representation of this concept. The idea came to me to create a real video catalogue for canonical objects, but with a very particular style.
Alice: When Irene pitched her idea about her human objects, I completely fell in love. I remember I had just watched My Own Private Idaho by Gus Van Sant, and I couldn’t stop thinking about that scene in the adult shop where the magazine images start moving and interacting with each other. That stuck in my head as a starting point for the Characters Cards. From our first brainstorming, I went wild, diving into old-school ads and writing a script that matched the characters’ descriptions in a funny, slightly twisted way, sometimes creating contrasts between what we see and what we hear. I wanted people to feel that something was just off about these ‘human objects’ — the same feeling I get every time I turn on the TV, drowning in nonsense and fake promises wrapped in ten tons of sugar-coated garbage.
I experimented with a type of video narration that reflects my rather grotesque and dreamlike style and my interest in creating characters. I decided to involve Alice to add another creative vision to the video, specifically the representation of this concept. The idea came to me to create a real video catalogue for canonical objects, but with a very particular style.
Alice: When Irene pitched her idea about her human objects, I completely fell in love. I remember I had just watched My Own Private Idaho by Gus Van Sant, and I couldn’t stop thinking about that scene in the adult shop where the magazine images start moving and interacting with each other. That stuck in my head as a starting point for the Characters Cards. From our first brainstorming, I went wild, diving into old-school ads and writing a script that matched the characters’ descriptions in a funny, slightly twisted way, sometimes creating contrasts between what we see and what we hear. I wanted people to feel that something was just off about these ‘human objects’ — the same feeling I get every time I turn on the TV, drowning in nonsense and fake promises wrapped in ten tons of sugar-coated garbage.
This catalogue offers something quite unique: very-human-objects ready for purchase, including a Granny, a Partner or even a Baby. What was the process of crafting these characters-objects like?
Internette: The process of creating the characters was very fun. For me, it’s always the most creative and rule-free part of the design process, where I can literally do whatever I want, whatever inspires me, without any limits — especially with the human figure. I almost feel like an almighty creator of fantastic creatures! To create them, I conducted research (both external and, above all, internal and emotional) on representations, colours, shapes, and impressions tied to each social figure I chose to represent. In addition, I wanted to add real functions that made sense with what people expect or want from them. This led to physical elements that represented those expectations, which simultaneously deformed and dehumanised the characters.
Alice: Okay, this question is totally Irene’s thing: she shaped these ‘very human objects.’ And honestly, she nailed it! She captured all the stereotypes tied to different relationships and aesthetically turned them into these monstrous, ‘uncomfortably funny’ creatures. It’s like the ultimate version of Freud’s unheimliche (uncanny): that weird feeling when something is familiar but also deeply strange. My job was to give a voice to this digital catalogue, selling these creepy-yet-hilarious monsters like they were actual products, crafting a campaign that’s as terrifying as it is relatable.
Alice: Okay, this question is totally Irene’s thing: she shaped these ‘very human objects.’ And honestly, she nailed it! She captured all the stereotypes tied to different relationships and aesthetically turned them into these monstrous, ‘uncomfortably funny’ creatures. It’s like the ultimate version of Freud’s unheimliche (uncanny): that weird feeling when something is familiar but also deeply strange. My job was to give a voice to this digital catalogue, selling these creepy-yet-hilarious monsters like they were actual products, crafting a campaign that’s as terrifying as it is relatable.
To style them, you worked with independent designers like Paolo Belleri, Cornicouture, and Bioocontact. How did you meet them, and how did you enroll them in the project?
Internette: The people I involved, just like with Alice, were chosen out of love and for their vision, of course! I love working in a team and selecting the people who make it up because, for me, this is how a project can achieve a deeper level of complexity and creativity — more intense, more detailed, and overall richer on a creative level. Specifically, each of them had already collaborated with me before, and we had the pleasure of sharing projects and even extra work days together. So, it was both an honour and a pleasure to have them on the team.
Alice: Oh, these were all Irene’s friends. She’s lucky to have a whole squad of amazing creative people around her that totally understand the vision. Honestly, the whole team felt like one big, crazy family. I need to thank any single person who decided to participate to this no-budget project just for the pleasure of doing something funny together. It wouldn’t have been possible without them.
Alice: Oh, these were all Irene’s friends. She’s lucky to have a whole squad of amazing creative people around her that totally understand the vision. Honestly, the whole team felt like one big, crazy family. I need to thank any single person who decided to participate to this no-budget project just for the pleasure of doing something funny together. It wouldn’t have been possible without them.
I see that collaboration is a main pillar of the project. In a growingly individualistic world, what would you say is the most important to come together?
Internette: You said it right! Collaboration is everything in this project, and I dare say even in my life! Since I was little, regardless of art, I have always found the meaning of life and happiness, as well as personal growth, in the community and in the transformative power of unity. The classic and perhaps obvious phrase ‘unity is strength’ feels true and profound to me — it’s a real lifestyle that can also embrace work and passion. Individualism, which we subtly critique in the video we made, is not inherent to humanity. It’s part of the evolution we’ve undergone and are still experiencing, driven by capitalism. Instead, it’s healthy for us to rely on others with love and intelligence.
Alice: Oh, 100%! I really think we live in a world full of sharks, and our field especially is crazy competitive. But when we team up, it’s like the ultimate antidote to narcissism. It’s a way to expand our minds instead of staying stuck in our own little bubbles. You can always learn from others: share ideas, swap references, and get inspired. That’s why the shooting part is my favourite! Honestly, I go a little nuts when I spend too much time alone writing scripts for my films. Collaboration keeps me sane (and way more fun).
Alice: Oh, 100%! I really think we live in a world full of sharks, and our field especially is crazy competitive. But when we team up, it’s like the ultimate antidote to narcissism. It’s a way to expand our minds instead of staying stuck in our own little bubbles. You can always learn from others: share ideas, swap references, and get inspired. That’s why the shooting part is my favourite! Honestly, I go a little nuts when I spend too much time alone writing scripts for my films. Collaboration keeps me sane (and way more fun).
“I have always found the meaning of life and happiness, as well as personal growth, in the community and in the transformative power of unity.” Internette
Speaking of the future, this virtual catalogue is a reflection on “the dystopian future we might soon face.” What scares you the most of this very uncertain future?
Internette: It is certainly a dystopian vision of the future. What scares me the most is the growing difficulty people face (due to their silent exploitation by multinationals and today’s capitalist system) in being truly aware and the architects of their own actions, and consequently, their dreams and desires for fulfillment. I fear that this toxic relationship with interfaces and media will become normalised over time and take control of our evolution.
Alice: What scares me most about this uncertain future is literally its uncertainty! Everything’s moving so fast, and we don’t even get a chance to pause and think about what’s actually happening. It’s like being stuck on a giant hamster wheel, chasing who-knows-what, unable to see what’s right in front of us. We lose our sense of self, and it’s exhausting. The digital world keeps telling us that everything is faster than us and of course replaceable (even us), which leaves us in this constant state of anxiety, desperately trying to hold on to some sense of identity. Honestly, it’s like playing a never-ending game of existential hide-and-seek.
Alice: What scares me most about this uncertain future is literally its uncertainty! Everything’s moving so fast, and we don’t even get a chance to pause and think about what’s actually happening. It’s like being stuck on a giant hamster wheel, chasing who-knows-what, unable to see what’s right in front of us. We lose our sense of self, and it’s exhausting. The digital world keeps telling us that everything is faster than us and of course replaceable (even us), which leaves us in this constant state of anxiety, desperately trying to hold on to some sense of identity. Honestly, it’s like playing a never-ending game of existential hide-and-seek.
It’s funny that your catalogue offers role figures in our lives but giving them a twist. I love the Baby: “You can finally experience parenthood without the burden of stress and guilt. Baby needs minimal care, giving you back your free time” — so convenient! As us millennials are broke and stressed, this feels perfect. Do you think this catalogue speaks especially to a certain demographic?
Internette: Thank you very much in the meantime! For me, the Baby is also the most emblematic and fun character, precisely because he symbolises evolution and giving something back to the world that goes beyond our individuality. He represents a strong and symbolic concept, especially in a time when fewer and fewer people want to have children (including me, even though I’ve always wanted to). This is largely because of the type of society we live in, which comes with objective economic difficulties but also psychological challenges that have radically changed the perception of being able to handle such a complex and risky situation as becoming parents.
Even though it might have been something that could help us grow (or even make mistakes), we’ve reached a point where we’re such victims of society that we no longer even consider whether something so profound could still be within our control or possibility. I find that extremely sad and dangerous.
Alice: Yes, Baby was definitely one of the funniest for me too, and also the one that sparks the most debates. More than any of the other characters, he’s the clearest representation of our individualism. I already see so many couples having kids for selfish reasons, like wanting a ‘mini-me’ to feel fulfilled or trying to save a relationship that’s falling apart. Most of the time without even thinking about all the responsibilities that come with it.
Honestly, it wouldn’t surprise me if one day you could just buy a baby that only has the positive part of it. I had so much fun imagining that even the grossest parts, like changing diapers, would become enjoyable because Baby’s poop smells like honey and is shaped like little hearts! I’m convinced Baby would be Oggettivery’s BEST SELLER.
Even though it might have been something that could help us grow (or even make mistakes), we’ve reached a point where we’re such victims of society that we no longer even consider whether something so profound could still be within our control or possibility. I find that extremely sad and dangerous.
Alice: Yes, Baby was definitely one of the funniest for me too, and also the one that sparks the most debates. More than any of the other characters, he’s the clearest representation of our individualism. I already see so many couples having kids for selfish reasons, like wanting a ‘mini-me’ to feel fulfilled or trying to save a relationship that’s falling apart. Most of the time without even thinking about all the responsibilities that come with it.
Honestly, it wouldn’t surprise me if one day you could just buy a baby that only has the positive part of it. I had so much fun imagining that even the grossest parts, like changing diapers, would become enjoyable because Baby’s poop smells like honey and is shaped like little hearts! I’m convinced Baby would be Oggettivery’s BEST SELLER.
I’m curious, would you ever buy one of the products in your catalogue, even if it was just to try or have a laugh? Why or why not?
Internette: I would absolutely never buy any of my characters (except maybe as a real statue or piece of art) because, in their true sense of replacing affection, they represent the extreme version of what already happens with devices and media! It’s something extremely toxic for both people and society.
Alice: Oh, I totally would! I’m super fascinated by this kind of stuff, even though I know there’s something deeply wrong and creepy about it. Honestly, my curiosity always outweighs my fear, and I feel like I need to test and experience things firsthand to really have an opinion.
And let’s face it, we’re not that far off. We already have sex dolls that can hold conversations based on your interests. A simple sex toy in human form suddenly can have philosophical debates about Zizek while giving you probably the best orgasm of your life. Little by little we could have the rest of the Oggettivery family on Amazon.
Alice: Oh, I totally would! I’m super fascinated by this kind of stuff, even though I know there’s something deeply wrong and creepy about it. Honestly, my curiosity always outweighs my fear, and I feel like I need to test and experience things firsthand to really have an opinion.
And let’s face it, we’re not that far off. We already have sex dolls that can hold conversations based on your interests. A simple sex toy in human form suddenly can have philosophical debates about Zizek while giving you probably the best orgasm of your life. Little by little we could have the rest of the Oggettivery family on Amazon.
To finish, I’m sure working on this catalogue was a hilarious experience. Could you share some behind-the-scenes anecdotes that you feel are important to highlight?
Internette: Some moments on set were unforgettable — both funny and touching! The girls from Biocontact made an incredible piece from my sketch in Genoa and brought it to Milan for the model, which felt like a huge act of love and professionalism. Paolo Belleri, despite a last-minute issue with a dress, hand-made a stunning new one in a day — amazing considering we’d only met once before!
Everyone involved gave so much time, passion, and love to this project, believing in its value. And the funniest moment? Watching five makeup artists painting the green butt of a guy they’d just met, while he laughed and held his junk with one hand!
Alice: Uhhh, so much went down, it was quite the experience! Throwing lasagnas and cakes for the granny scene was a whole mission. Since this was a low-budget project, we didn’t have a lot of backup food props, so we were all just praying nothing broke mid-air. Also, we glued food to the plates while everyone was starving (and I was genuinely convinced someone might accidentally eat the glue).
Then there was the Partner, casually walking around naked while he could be fully painted green. Oh, and Irene proudly telling everyone that the Baby’s teeth were actually her own baby teeth… and people believed her! Not to mention the location owner, who always managed to show up at the absolute weirdest moments and probably wondered why he ever agreed to let us film there.
Everyone involved gave so much time, passion, and love to this project, believing in its value. And the funniest moment? Watching five makeup artists painting the green butt of a guy they’d just met, while he laughed and held his junk with one hand!
Alice: Uhhh, so much went down, it was quite the experience! Throwing lasagnas and cakes for the granny scene was a whole mission. Since this was a low-budget project, we didn’t have a lot of backup food props, so we were all just praying nothing broke mid-air. Also, we glued food to the plates while everyone was starving (and I was genuinely convinced someone might accidentally eat the glue).
Then there was the Partner, casually walking around naked while he could be fully painted green. Oh, and Irene proudly telling everyone that the Baby’s teeth were actually her own baby teeth… and people believed her! Not to mention the location owner, who always managed to show up at the absolute weirdest moments and probably wondered why he ever agreed to let us film there.
Alice Fassi
Internette