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.
If you enter the coordinates 42.4437339 and 11.4855630 in digital maps, you will find an exact point in the wilds of the Maremma, at the top of a hill near the Fattoria Stendardi in Pescia Fiorentina, a place chosen by the artistic collective, neo-conceptual artist, Claire Fontaine for one of her works inspired by the language of emoticons and created for the sixth Hypermaremma Festival.
In July thousands of spectators were enchanted by their site-specific work, Nebula, presented inside the Gazometro in Rome. It was created for Videocittà, the video-art festival, in collaboration with the maestro of electronic music, Giorgio Moroder. The Quiet Ensemble is a duo of Italian creative artists specialised in digital art and among the most active creators of immersive installations in Europe. The duo is composed of Fabio di Salvo and Bernardo Vercelli; they have taken part in some of the most important international festivals such as Noor Riyadh, Sonar, and Signal, and their work is focussed on exploring the increasingly more complex and multilayered relationship between man and nature.
Maria Azovtseva was born in 1977 in St. Petersburg. Her first education was in music pedagogy, where she trained as a choir conductor, and she later obtained a second education as a culturologist. In 2015, a year after the Russian annexation of Crimea, Maria left her hometown of St. Petersburg for Tallinn, Estonia.
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.
Giacomo Costa is a Florentine artist born in 1970. His borderline research work between photography and digital art has been exhibited in 2006 at the Venice Architecture Biennale and the Centre Pompidou in Paris, in 2011 at the Museum of Contemporary Art in Seoul, then at the Leopold Museum in Vienna and the Museum of Contemporary Art in Brisbane.
Annibale Siconolfi, also known as Inward, is an Italian artist, architect and sound designer based in Irpinia who has constantly experimented with different disciplines, from art to sound, from architecture to 3D techniques. These aspects found their synergy in the creative vision of vast urban landscapes that explore the tensions between a technologically advanced future and a return to nature.
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.
In recent years there has been a lot of talk about metaverse, especially since October 2012, when Mark Zuckerberg, founder and owner of Meta, announced his intention to change the name of Facebook Inc. to Meta, staking everything on this technology. Although it is a widespread buzzword, few people truly understand what metaverse actually is and how it works.