With his interactive video installation Slot Machine the artist explored the tradition of classical portraiture: renegotiating the criteria for the selection of subjects and their representation, Giannotti opened his work to various external inputs. To begin the process, different artists such as, a.o., Tobias Urban (gelitin), Chris Haring, Wendelin Pressl, Markus Hofer, or Edith Payer as well as Giannotti himself enacted visionary self-portraits. Using found objects, their own clothing, and accessories especially created for the purpose were assembled into childlike armors for the archetypes portrayed whose eventual final representation retained a sculptural and performative appearance. In this way, Giannotti started his own collection of fantasy superheroes – a compilation of pictures which, in the final stage of creation, were further processed in an artist-controlled several-step procedure.
This contemporary iconographic approach questioned the idea of representation as well as the relationship of artist and subject, portrayer and portrayed: mixing and multiplying identities, the artist brings an endless circus of creepy monsters and anti-Vitruvian humans into the world.

Slot Machine invited passers-by to become part of an artwork themselves and to create new compositions and combinations by playful intervention. The public space thus hosted a game of chance without losers – a casino where everyone was a winner who got a new artwork in every round with every push of a button.