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.
Filippo Rosati is the Founder and Artistic Director of Umanesimo Artificiale.
After an MSc in Marketing and Strategy from Bocconi University in Milan, and a double degree from the Copenhagen Business School, he worked in consulting and creative agencies in Europe and Asia. In 2017, he founded Umanesimo Artificiale where he is President, and has since focussed on art, science, and technology, mediating between disciplines and exploring interchange between art, design, robotics, biology and hacking, with an experimental approach to artistic and scientific research.
Bruno Zamborlin, PhD, is an acclaimed AI researcher, entrepreneur, and artist, recognized for revolutionizing human-computer interaction through his startups: Mogees Limited, HyperSurfaces, and HyperSentience. His work focuses on transforming everyday objects and surfaces into interactive, intelligent entities, thereby redefining our interaction with the space and between us.
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.
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