Max Magaldi was born in 1982; he began as a musician and drummer and today is a prominent artist in the field of digital arts and other forms of expression. In 2018, he started to experiment with digital device performances, combining music, contemporary art, and hacking on social networks, and began developing the concept of the sound mural. He has created sound and installation performances, and has exhibited both in Italy and abroad, in France, Greece, and Saudi Arabia. He has collaborated with renowned artists like Edoardo Tresoldi, Gonzalo Borondo, Studio Azzurro and Andrea Villa.
Can urban space and virtual space coexist? And how can digital art redesign the streets, structures and the façades of the buildings? There is a surprising and underrated meeting point between immersive technologies and urban art: in the hands of street artists, we see that virtual and augmented reality become tools capable of amplifying an artist’s creative range exponentially, liberating the art from every law of physics (and from the bureaucratic laws as well). Thus, street artists, who were the first to reappropriate urban space for themselves, also became the first to “colonize” and navigate virtual space, the new frontier of the public world.
magine finding yourself in Italy in the Sixties. The country was growing at record rates, the economy was booming, industry performing more brilliantly than ever. Italian brands had conquered the world, and everyone raved over the beauty of goods “Made in Italy”. Those were the years of the “La Dolce Vita” as depicted by Federico Fellini with Marcello Mastroianni, the years when the Vespa became a symbol of freedom, when Olivetti effectively invented the first domestic adding machines, long before the arrival of the personal computers.
Contemporary artists are unlikely to tackle the subject of women’s rights and gender equality, although the subject is one that is by now very much in the forefront of public awareness, being widely debated, though not always in appropriate ways and sometimes using questionable language.Their reluctance may be due to a fear of sliding into rhetoric or not knowing how to approach the subject effectively, as there are still many questions surrounding the issue.
Art, however, has a duty to objectify and interpret reality using individual expressive codes, at times even accepting the risk of offending a certain public opinion.Contemporary artists are unlikely to tackle the subject of women’s rights and gender equality, although the subject is one that is by now very much in the forefront of public awareness, being widely debated, though not always in appropriate ways and sometimes using questionable language.Their reluctance may be due to a fear of sliding into rhetoric or not knowing how to approach the subject effectively, as there are still many questions surrounding the issue. Art, however, has a duty to objectify and interpret reality using individual expressive codes, at times even accepting the risk of offending a certain public opinion.
Lying stretched out along the gentle curve of the circular bench, the viewer looks ahead, then moves his gaze upwards, left, and then right, not to miss a single image or text of the rapid and noisy animations that cover the domed ceiling of the planetarium. There is a feeling of familiarity, needled by a latent desire of non-involvement while images from popular culture appear and disappear, penetrating the subconscious, Visitors enter the first of the two immersive works created for the Swiss pavilion at the 60th Venice Art Biennale, by the artist Guerreiro do Divino Amor, and curated by Andrea Bellini.