Everywhere, Here, Nowhere is the Fashion & Art show for the graduating class of 2022 at Istituto Marangoni Firenze, displaying the works of the best Multimedia Arts and Fashion Design students together at Museo Marino Marini.
Located in the historic centre of Florence, the former 9th-century church of San Pancrazio hosts the exclusive event at 9 pm CET on June 15th 2022.
Though the physical event is by invitation only, a live stream will be available online for a broader audience starting at 9:30 pm CET on Instagram or Facebook.
The following is a complete description of the event to be used as a guide and documentation.

by Pia Diamandis & Elena Tortelli. Cover image: © Monogrid, 2022.


Everywhere, Here, Nowhere is glad to welcome you in its in-between space, physically by invitation only at Museo Marino Marini Firenze at 9 pm CET or online with the live stream at 9.30 pm CET on Instagram or Facebook.


Being the Fashion & Art show for the graduating class of 2022, Everywhere, Here, Nowhere is the first time the two events take place together, exploring the space between digital and physical that connects art and fashion, a way to enhance the synergy between the artworks and the fashion collections of the School’s best upcoming artists and designers.
The interdisciplinary approach of Istituto Marangoni Firenze, the School of Fashion & Art, takes the attendants on a spatial journey from here to there and nowhere, through an art and a fashion show happening at the same time.
The hosting venue, Museo Marino Marini, embodies the event’s concept of liminality, with Everywhere, Here, Nowhere being a space that transitions between borders and boundaries. Museo Marino Marini was initially a Renaissance church, later converted into an art museum that hosts an event including art and fashion, spatially between virtual and physical reality.
The event is also a journey through the different floors of the museum, with the art show occupying the museum’s basement and the catwalk on the floor above it.


You can use the following index to go directly to the preferred section of the event guide:



The art exhibition features a lineup of works by the year’s Best students graduating in Multimedia Arts. The show uses animation to discuss current issues that range from personal to societal discourses, everything from a sense of wonder, to queer identities, to being neurodivergent, and a reflection of our post-truth society.
The artworks emphasise the role of animated digital art, which, as visual culture researchers Esther Leslie and Joel McKim claim, has become “the dominant contemporary media”1.
Animation as a medium today brings machine mediation to a new level, having its own agency in influencing our creative freedom – think AI generated artworks or 3D graphics with distinct and easily recognisable volition. Society’s familiarity couples this ongoing proliferation of computerised graphics with machine-mediated visual culture, problematising the relationship between humans and machines as we experience reality through our smartphones, tablets, and more.
The featured works also call attention to our increasing acceptance of animation as a documentation of our reality that is not only physical but also virtual and the in-between, the phy-gital. The exhibition reflects how, during a three-year programme, the students have learned to use different phy-gital tools to translate their realities, whether virtual or not, onto a medium that is equally Everywhere, Here, Nowhere, at the same time.
Displayed in the crypt of Museo Marino Marini, the atmosphere of the physical space plays an essential role in the experience of Everywhere, Here, Nowhere. Low natural illumination and the event’s evening schedule brings out the resulting digital spaces, an immersive reality parallel to our own, one that is dark yet intimate.


All the artworks in Everywhere, Here, Nowhere are strictly tied to our use of technology and invite the audience to reflect on our relationship with it in different digital, physical, and phy-vital spaces, the cosmos, our bedroom, our mind, and our body.

01. NOEMI MESSINA, Spectacle, 2022. 3D video animation, original sound, 1’05’’ loop, beach chairs.

Particles dancing in the void, take viewers on a wondrous journey to the night of San Lorenzo. An Italian celebration of a night of shooting stars occurs on August 10, where people gather together in open-air spaces to sit back, celebrate life, and wish upon the stars. A spectacle of reality as a perpetual machine wheel that keeps turning without stopping.

02. MARCELLA OLIVIERI, The Keeper of Secrets, 2022. 3D video animation, 4’49”.

Guided by a figure named ‘The Keeper of Secrets’, we move through neatly kept secrets in a bedroom, an idealised safe space where you could take a breath. The film is a metaphoric animation of the ‘coming out’ moment, a decision that queer people make when they openly declare their sexuality to the world. The animation transforms the metaphor into a digital space, exposing the deepest secrets of someone still discovering their own identity while keeping it from a cold, unaccepting world.

03. MARCELLA OLIVIERI, Like The Lesbian Monkeys, 2022. Illustrated book, 21 x 29,7 cm, 50 pages.

Like the Lesbian Monkeys is an illustrated book with twenty coming out stories from queer people. The title alludes to how natural queer sexuality is, as other species such as monkeys, penguins, deers, and many more are also in queer relationships. The book resembles a children’s storybook without intending to be read by children, exploring the contrasts between sexuality discourse and being palatable for society.
The book features illustrations by Amane Aoyama, Ana Paz, Andrea Lainez, Carla Gomez, Daniela Cerna, Marcela Escalona, Sarah Valladares, and Marcella Olivieri herself.

04. AMANE AOYAMA, The Brightest Colour, 2022. VR 3D animation,1’47” loop.

The Brightest Colour, is a VR translation of the synesthesia that the artist, a person with an Autism Spectrum Disorder (ASD), experiences when listening to Claude Debussy’s Arabesque No. 1. The work invites audiences to step in the shoes of a person within the Spectrum by wearing the VR headpiece to share the sublime moments.

05. AMANE AOYAMA, Samsa, 2022. 3D animation on video footage, 2’45”.

Aoyama’s second piece expresses a person with Autism Spectrum Disorder (ASD)’s struggles with masking through 3D animation on real video footage. Represented as a chameleon on video, masking is a defence mechanism for neurodivergent individuals where they mimic neurotypical behaviour to avert conflict. The work provokes an uncomfortable feeling in its viewers to simulate what ASD patients feel when masking away the constant disturbances they encounter from seemingly mundane things such as riding the train or grocery shopping.

06. ADAN, A Tall White Fountain Plays, 2022. 3D animation, film footage, 4K colour, and sound video, 8’00”.

A Tall White Fountain Plays is a short film that intertwines a documentary on black holes with the recording of a podcast on misinformation. Featuring original 3D animation works, the piece touches on the overwhelming polarisation of information, and the uncertainty felt when intaking information on current events in a post-truth digital age, where believability holds key over the truth.

07. ADAN, Look Mom I Can Fly, 2022. 3D animation, 4K colour, and sound video on loop, 3’15”.

The immersive video captures the architectural beauty of the human body, focusing only on his back. Inspired by a back accident suffered by the artist, the piece uses 3D software to create an MRI-like effect that invites the viewer to look at the back as separate from the body and focus on its aesthetic composition. The piece’s colour palette and sound design further alienate the subject from its usual context.


The fashion show starts at 9:30 pm CET, on the first floor of Museo Marino Marini while streaming live on Instagram or Facebook.
The fashion show showcases collections by the best students graduating in Fashion Design in 2022, chosen by an international jury: Urtè Ilginyté, XingXing Su, Montserrat Macias Cervello, Lydia Schneider, Ahjin Shim, Sana Krishna, Laetitia Wen, Nicola De Piano, Lucrezia Veltroni and Alejandra Martine De Castro.

The brand new creations are shown amidst Marino Marini’s sculptures and a series of AI-generated projections created by Monogrid mapping the walls of the museum. There, nature and art images reassembled through machine learning interact with the room and the attendees, highlighting the technological mediation we perceive in today’s visual culture.
Finally, this phy-gital enviroment features sound design by Emiliano Zelada, artist and Tutor at Istituto Marangoni Firenze. His work emulates AI, translating inputs and stimuli into sound sequences.


Here, in their own words, you can find the designers’ statements and descriptions of their own collections, following the running order of the fashion show.

Best Fashion Design Students Fitting at Istituto Marangoni Firenze, 2022. Photo: Virginia Niccolucci

Urtè Ilignitè, THE WIND WILL CARRY US, 2021-2022 

Kite surfing is like flying – a feeling of freedom, lightness, and calmness. Like therapy or meditation, it is a way to distance oneself from reality. Being in nature, seeing water, sand, sun and becoming part of it.

Xingxing Su, LE GIVRE, 2021-2022 

The collection is a connection between me, the artist Katharine Morning and her pottery. The simplicity, the white monochromia, the flowers, the dew, and the magic world of Nature give us a unique and impacting visual party.

Best Fashion Design Students Fitting at Istituto Marangoni Firenze, 2022. Photo: Virginia Niccolucci

Montserrat Macias Cervello, REALISTIC MANIFESTO, 2021-2022 

Recalibration towards the exploration of different constructions. Expecting more expression of personal identity, and establishing it in the role of Art. Realization of our perception of the world in the forms of space, time, color, dimension, and thought.

Lydia Schneider, GRÜNALGE, 2021-2022 

Incorporating shapes, structures, materials, and light from Medieval armors, the collection desires to evoke contrasts echoing the appearance of insects’ sharp bodies. Colors and volumes are manipulated to create a different silhouette volume.

Best Fashion Design Students Fitting at Istituto Marangoni Firenze, 2022. Photo: Virginia Niccolucci

Ahjin Shin, FREE DIV’IN, 2021-2022 

Attracting things is often harmful. Toxic things are addictive. Bad habits are just learned. Nature is addicted by us, we are harmful.

Sana Krishna, THE DICHOTOMY OF WRINKLES, 2021-2022 

Several years ago on a flight, I looked out of the window, and I saw a beautiful sight. The beauty of the mountains and their shapes, the perfection and imperfection, the symmetry, and the asymmetrical details… It defined for me what true perfection is, it has to be imperfect.

Best Fashion Design Students Fitting at Istituto Marangoni Firenze, 2022. Photo: Virginia Niccolucci

Laetitia Wen, FLAIR IS FOUL, 2021-2022 

It’s a paradox, a mirage, a contradictory moral conundrum between appearance and reality. Things aren’t always what they seem. Appearances are often deceptive.

Nicola De Piano, ECHOES, 2021-2022 

It is an indefinite form, a multiplicity of deformations, the building of an emotion, a feeling, a relationship, an experience. It is the shape of a non-shape. By layering volumes an idea is built: the softness becomes stiffness, and the armor creates a link between your ego and the outside world. It is an idea, the ability to consolidate deformation.

Best Fashion Design Students Fitting at Istituto Marangoni Firenze, 2022. Photo: Virginia Niccolucci

Lucrezia Veltroni, MERCURIAL, 2021-2022 

The DNA of the collection reflect a social inadequacy and, at the same time, the need for self-expression. Life is a game, and we have to try to win. This can happen only if you feel the freedom to express yourself.

Alejandra Martine De Castro, JUXTAPOSITION, 2021-2022

The concept of Juxtaposition has always been a constant throughout my life. It is a bridge between sculptures and fashion, shapes, and silhouettes to provide a definition of wearable art.

ADAN, Amane Aoyama, Noemi Messina and Marcella Olivieri are undergraduate students in Multimedia Arts at Istituto Marangoni Firenze.
Pia Diamandis and Elena Tortelli are undergraduate students in Arts Curating at Istituto Marangoni Firenze.
Laetitia Wen, Lucrezia Veltroni, Nicola De Piano, XingXing Su, Urtè Ilginyté, Alejandra Martine De Castro, Sana Kirshna, Montserrat Macias Cervello, Lydia Schneider and Ahjin Shim are undergraduate students in Fashion Design & Accessories at Istituto Marangoni Firenze.

1. Leslie, E., McKim, J. (2017) “Life Remade: Critical Animation in the Digital Age”, in animation: an interdisciplianary journal, vol. 12(3), pp. 207-213.

DIS-CYCLING • The seductive allure of creativity in sustainability is the project presented by Istituto Marangoni Firenze in collaboration with the Maison FENDI.
It is planned to start in May 2022 and will involve, under the creative direction of New York artist Sarah Coleman, a number of students from the Florentine school in a process of recovering materials previously used in the brand’s window installations.

by IMF News Desk. Cover image courtesy of Sarah Coleman.

A selection of students from the courses of Fashion Design, Multimedia Arts and Textile Innovation will closely work with Sarah Coleman, internationally renowned for making the upcycling of luxury accessories the philosophy of her work and who has joined the prestigious I’M Mentors of Istituto Marangoni Firenze this year.
The project places the material at the centre of the creative process, thinking about how a discarded material coming from window installations in FENDI boutiques can be deconstructed to find new life in a completely new context and in the form of a work of art, also thanks to the collaboration with Pardgroup, the historic Italian brand that handles the window changeout operations of all the brand’s European flagship stores.
A creative and interdisciplinary project that includes online and in-person meetings with FENDI managers and Tutors from the Florence school, who will support the young talents in all the stages leading to the creation of an art installation that will bring matter and digital together.
Mentor Sarah Coleman will work alongside the students, accompanying them through the processes of conception, development, and final execution of their work, which will be showcased in autumn within the exhibition space at FENDI Factory in Capannuccia (Bagno a Ripoli, FI) and will be the symbol and at the same time the result of an increasingly integrated approach to the theme of sustainability.

Multimedia Arts students from Istituto Marangoni Firenze are working on an upcoming project on the city of Florence and its fashion history. The artistic director is digital artist Andy Picci, Mentor at Istituto Marangoni Firenze for the academic year 2021-2022. His project review and workshop with students in Florence was an opportunity for the I’M Firenze Digest Editorial staff to interview him. 

By Sofie Engelschiøn and Giulia Piceni. Cover image photo Virginia Niccolucci.

Since his first appearance as Pete Doherty’s doppelganger on the cover of Le Parisien in 2015, Andy Picci has never stopped provoking public opinion through his multifaceted artistic expression that went from poetry to digital art. His artistic practice mainly focuses on the definition of identity; in recent years, he started to create a series of Instagram filters to manipulate reality and our everyday perceptions and appearance.
Under his guidance, Istituto Marangoni Firenze students in Multimedia Arts are working on a large-scale project that will cover the historical city centre of Florence, enhancing multiple locations linked to the city’s rich fashion history through AR and Instagram filters. The project will be unveiled in June on this website. For now, we asked Andy Picci for further details on the project and his mentorship experience.

I’MF: To start, can you introduce yourself?

AP: My name is Andy Picci. I’m a conceptual artist, and I like to reflect on the construction of identity in the age of the hyper-digitised society. 

I’MF: How has todays review been?

AP: It was exhausting for me, and my students, I guess, [laughs] but also very interesting. It’s crucial for me to see how students explore many of the tools I analysed in the past, to see how they use them in different ways. It’s interesting to see what fresh and creative minds come up with from something I’ve been using for such a long time. 

I’MF: What is a mentor for you?

AP: A mentor, I guess, is someone who will find a way to enhance the creativity of others, each student depending on their vision. It’s not someone to look up to, but mostly someone that will be able to help the students bloom.

Andy Picci and Multimedia Arts students at Istituto Marangoni Firenze. Photo: Virginia Niccolucci.

I’MF: How can people experience the project? What are they going to find? 

AP: At the beginning of June, there will be an outdoor-virtual exhibition. People will be able to experience it through their smartphones across the city, using Instagram as a platform to discover each student’s work and iconic places in Florence playfully and interactively. It’s Florence under a fresh eye!

I’MF: What was the inspiration behind the Re:mixing the City project?

AP: I guess working with augmented reality and allowing the students to reinterpret the city was the central aspect of this project. It was a way to enable students who usually don’t have many exhibiting opportunities to share their vision of one of the most beautiful cities in the world.

I’MF: For you, what is the relationship between public space and AR?

AP: At the moment, there’s some ambivalence in the audience’s eyes towards virtuality. But I believe that this is bound to change. The traditional way we differentiate reality from virtuality today is coming to an end. More and more interactivity will lead our daily life.
I think that using virtuality to enhance our experience of reality is just a logical step into augmented life. We’ve been doing this with all other inventions over time: making our lives easier and more performant. To make the best of what’s around us. This is what augmented reality is about: bringing the new layer of interpretation to something that we’d experienced in a very static way until now. 

Andy Picci
Andy Picci and Multimedia Arts students at Istituto Marangoni Firenze. Photo: Virginia Niccolucci.

Giulia Piceni is an undergraduate student in Arts Curating at Istituto Marangoni Firenze.

The exhibition “Donatello, The Renaissance”, curated by the Tuscan artist scholar Francesco Caglioti, is now on display in two museums in Florence, Palazzo Strozzi and the Museo Nazionale del Bargello.
A comprehensive show for a broad audience that brings together more than 130 works, challenging the public and critics to accept the artist’s appropriate place in Italian art history as one of the ‘Fathers of the Renaissance’.
The Arts Curating student of Istituto Marangoni Firenze Giacomo Donati shares his experience for the readers of I’M Firenze Digest.

by Giacomo Donati. Cover image: Donatello, AttisAmorino, ca. 1435-1440. Exhibition view at “Donatello, The Renaissance”, Palazzo Strozzi, Florence, 2022. © Photo Ela Bialkowska, OKNOstudio

A solitary artist, a genius and an experimenter, Donatello’s entire work is vast, but as a whole, it seems like a repetition, with continuous experimentation of style, perspective and scale. In its ensemble, his work appears simple and always ahead of time.
His works, his conception and invention always seem unpredictable; it is difficult to draw a definite and logical outline around his work. He gives the viewer the space and the option to try and fill in some void.
Visiting the exhibition and walking through the works, I wondered what ties together pieces that look so different. What is the fulcrum that connects them?
It is a difficult question to answer. Donatello’s work is a collection of images and emotions. The curator, therefore, accumulates Donatello’s works to compare them with masterpieces by artists such as Brunelleschi, Masaccio, Andrea Mantegna, Giovanni Bellini, Raphael, and Michelangelo. He then juxtaposes them in their new temporary site in Palazzo Strozzi. The exhibition space becomes his new home and ideal nest, right inside his hometown.


Having the opportunity to see a vast collection of Donatello’s works together, we feel drawn to compare the different results of such various research. For example, we can compare the sensual and ambiguous beauty of his bronze sculpture David-Mercurio (1408-1409) with the austerity and hardness of the San Rossore Reliquary (1424-1427), a bust of a heroic ancient soldier that is small in size but already has a monumental feeling and flavour to it.
Or with the simplicity and closeness of reality in the posture, body and face of the marble statue San Giovanni Battista di Casa Martelli (1442), a figure that expresses feelings of reality and unreality at the same time.

David Donatello

What they have in common is the artist’s desire to always seek a solution and transform reality in a personal way. His sculptures are not linked by the same style but rather by the fact that Donatello invents a new opportunity for experimentation each time, such as the stiacciato, a method of sculpting in a thin relief so that the composition stands out from a flat surface, allowing him to play with perspective. Through the rooms of Palazzo Strozzi, it is now possible to admire this technique in a white marble depiction of the Virgin and Child, also known as the Dudley Madonna (1440).

Donatello Madonna Pazzi
Donatello, Virgin and Child (Pazzi Madonna) ca. 1422 © Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst. Photo Antje Voigt

The Tuscan genius has always been searching for the next human model to depict and then reshape it and use it to change art history.
His greatest inspiration was the reality surrounding him, with the people and spaces that composed it. But he took this reality and imagined it plastically in a new way. We can see examples of how he studied postures and facial expressions in his marble David (1408-1409). Compared to Michelangelo’s, it respects the early age of the subject and his non-muscularity more realistically.


Reality in Donatello is sometimes like a boundary to reach, a reality that wants to be dominated and modified. He was a creator of beauty; it may look like his sculptures were not complicated to make, but only apparently, because only he could have created them and studied the subjects and reality in that specific way. He’s an artist who always needs to be decoded and is still a source of inspiration for contemporary sculpture.

“Donatello, The Renaissance”, Palazzo Strozzi, Florence, 2022. © Photo Ela Bialkowska, OKNOstudio

The American sculptor Charles Ray comes to my mind, an artist who is always related to realism and the nature of sculpture. The posture and innocent face of one of his most important works, Boy with a Frog (2009), reminds me of the marble David or the San Giovanni Battista. Another thing he has in common with Donatello is his relationship with scale and proportion. Proportion has always been a source of experimentation in Donatello’s work, a scale and a dimension that was always related to the real world.
To me, Donatello’s sculpture is a sculpture of hope, embracing Renaissance humanism and always staying humble to reality.

Giacomo Donati is an undergraduate student in Arts Curating at Istituto Marangoni Firenze.

On Wednesday, April 6, Istituto Marangoni Firenze will have the opportunity to host the talk Just in Time with Austrian designer and 3D printing expert Julia Koerner. The artist will answer the questions of Ivana Conte, Director of Education at Istituto Marangoni Firenze, and will talk to the School of Fashion and Art students about her works that unite design, fashion and architecture.

by I’MF Digest News Desk. Image cover: Julia Koerner, HY Clutch, 2021. ©JK3D. Photo: Elena Kulicova

Julia Koerner is an award-winning architectural designer known worldwide for her pioneering work in 3D printing, as she applies 3D printing to different disciplines such as fashion, design and architecture.
Founder of JK Design GmbH and JK-LA LLC and faculty member at UCLA, she launched her brand JK3D with her partner Kais Al-Rawi in 2021.
Her recent collaborations include costumes for Hollywood Entertainment Productions and Marvel’s famous Black Panther movie.
To learn more about the artist and her job, don’t miss the opportunity to follow the talk Just in Time on Wednesday, April 6, moderated by Ivana Conte, Director of Education at Istituto Marangoni Firenze.

Just in Time
A Virtual Conversation with Julia Koerner
Wednesday, April 6, at 4:00 pm (CET)

Click here to join the event

Jenny Saville’s exhibition at Museo Novecento brings new paintings and drawings by the British artist into dialogue with the Renaissance city of Florence, sparking new conversations between past and present.
Istituto Marangoni Firenze student in Arts Curating Marines Salcedo Gutierrez tells her experience to the readers of I’M Firenze Digest, sharing her feeling of being hypnotized by the vibrant and colourful figures depicted by Saville.

By Marines Salcedo Gutierrez. Image cover: Jenny Saville, Chasah, 2020. Oil on linen, 200 x 160 x 3 cm. © Jenny Saville. Tutti i diritti riservati, DACS 2021. Photo: Prudence Cuming Associates. Private collection. Courtesy: Gagosian

As I walked into the first room of Jenny Saville’s exhibition, my breath was taken away by the contrast between the tall arches of Museo Novecento and the artist’s dynamic and immense portraits that filled the gallery.
When the spectators approach the first artworks, they can see thick abstract brushstrokes against her figurative portraits.
Up close, the paintings reveal a constellation of accurate details.
As I came across the first portraits, I had to look a second and third time just to be sure that they weren’t photographs.
This exercise in looking closer gave me an opportunity to observe all the colors, brushstrokes, and details that came together to create this dynamic result.
She has a unique ability to add movement to her subjects, to make still images come to life. Every piece evokes a different story.
Even when there is no background behind her images, there is a sense of space. A place where riots of colors and emotions bring out her delicate human approach.
Her portraits are rich in both emotional and physical ways, as she adds different layers of acrylic, oil, and pastels to create a complex texture, soft and solid at the same time.
Within this painterly texture, Jenny Saville often reveals the background and the process behind her work.
Shown in the Renaissance city, this technique reminds us of the sketches and anatomy studies by great masters like Michelangelo and da Vinci.
All while balancing human movements with her abstract dynamism of materials and colours in a conscious combination of classical and new.

Jenny Saville, Installation view at Museo Novecento, Florence. © Jenny Saville. Tutti i diritti riservati, DACS 2021. Photo: Sebastiano Pellion di Persano. Courtesy: Gagosian

After the energy and contrasts of the large-scale paintings on the first floor, the audience is then faced with her studies in the next section, all done with pencil, with few and scarce splashes of colour. Here, her aesthetics around movement and the human body is more present than ever.

Jenny Saville, Rosetta II, 2005 – 2006. Oil on paper, mounted on panel, 252 x 187,5 cm. © Jenny Saville. Tutti i diritti riservati, DACS 2021. Private Collection. Courtesy of the artist and Gagosian

Just like Michelangelo turned sketches into sculptures, her approach to drawing seems to evoke cinematic animation, transforming simple sketches into images almost ready to move before our eyes. Finally, a room filled by both finished works and their studies brings the exhibition to a striking conclusion.
Surrounded by her portraits, I was hypnotized by the penetrating stares of the different bodies depicted by Saville, mesmerized by the movements of their colourful silhouettes.

Jenny Saville, Study for Pentimenti III (sinopia), 2011. Charcoal and pastel on paper, 200 x 152 cm. © Jenny Saville. Tutti i diritti riservati, DACS 2021. Photo: Mike Bruce. Private collection. Courtesy of the artist and Gagosian

Marines Salcedo Gutierrez is an undergraduate student in Arts Curating at Istituto Marangoni Firenze.

LUCIA is an international festival of storytelling and sound art, presented only through listening sessions and aural experiences.
The festival features a collection of sound recordings, artworks, and podcasts from all over the world, where the creators express their theories and creativity using the medium of sound design, giving the spectators the opportunity to get back in touch with this artistic expression.
I’M Firenze Digest had the opportunity to join the first day of the events that opened its third edition in Florence in 2021, hosted in the fascinating setting of Villa Galileo.

By Abraham Yael Perez Mosqueda. Cover Image: LUCIA Festival 2021, Orto Botanico, Florence. Photo credits: Alisa Martynova.

As a Multimedia Art student, I believe that sound is a crucial part of the art experience; not a simple complementary tool to visuals element, but a key instrument to create the right atmosphere and deliver the right message of the artwork. At the heart of the LUCIA festival is the idea to bring forth sound experiences by getting rid of the need of a visual apparatus to fully experience and appreciate an artwork, forcing the spectators to complement the audio works with their own imagination.
The first event to open the festival, Celestial bodies, relational bodies (2021) by astrophysicist Emanuele Pace, is a focus on ancient cultures like the Greeks and Mayans and their fascination for celestial bodies: the stars, the moon, and the sun, depicted in their tales and myths as supernatural beings.
Their observations have formed our present world, where we still find ways to apply their knowledge, knowingly or unwillingly. While they tried to get closer to the cosmos by creating stories or myths, we now push scientific innovation to discover space physically with satellites, space rockets, and telescopes. 
A half-hour long event, Celestial Bodies has really aroused the crowd’s curiosity with Pace’s storytelling, making them want to go out, have a look at the sky and start creating their own readings.
The second event, Meteor Bodies (2021) is a 16-minute audio work by Kate Donovan. In the audio piece we can hear a dialogue between two female characters, telling some kids a story about a woman from Alabama in 1954.
As the story goes, while she was resting in her living room, a meteorite suddenly broke through her roof and bounced off the radio next to her, hitting her right in her belly.
A real story about the chaotic nature of the universe, and the improbable encounter between everyday life in the 1950s and a space rock darted from the universe, from who-knows-where or when.

Listening to the work was an interesting experience, as the audio bounces left and right in stereo depending on who is talking.
The narration is enhanced with audio effects like radio waves, raindrops, background noises from objects in the kitchen and finally the meteor crash. The narration is also cropped in fragments, some words jump in and out constantly as radio interference, making the whole experience dreamy yet realistic.

While listening to the story of the lady and the meteorite, I was thinking that, like celestial bodies, we are made of the same elements that were created after the Big Bang, the same elements that formed planets, stars, and moons, and after millions of years, the organic materials that later evolved into all creatures of the Earth.
We are indeed made of stardust. And, as Meteor Bodies suggest, humans and meteors both as moving objects in space.

Abraham Yael Perez Mosqueda is an undergraduate student in Multimedia Art at Istituto Marangoni Firenze.

Jonathan Monk’s One Hundred Meals Between Rome and Berlin (Humboldt Books, Milan 2016) is the perfect example of how an artist’s publication found a synergy with a digital counterpart, just like so many others to come. With this artist book, the British artist playfully recreates works by different artists across media, such as photographs, drawings, objects, installations, and films, addressing the impossibility of being original. 

by Marines Salcedo Gutierrez. Photographs courtesy of SMV – Studio Moretti Visani

Jonathan Monk’s One Hundred Meals Between Rome and Berlin collects the different artworks that the artist recreated, with pencils or watercolors, on restaurant receipts from meals that he had either alone or in company during his travels. 
One Hundred Meals Between Rome and Berlin is a small yet quite thick, soft-covered book. The colored images on uncoated paper show a range works from artists such as Maurizio Cattelan and Sol LeWitt, drawn onto receipts from restaurants, cafes, or pizzerias. It displays an artwork per page, printed to recreate its original size. 
All pages are stapled together, enclosed under laminated covers that feature either a bright blue or a pink stripe at the top, just like the small notepad where the waiter takes customers’ orders.
This artist book lets the pictures speak for themselves. However, as a final chapter, there is a little text that adds some context, establishing a connection between art, mundanity, and finance.
Something the artist continues to play with on his Instagram account, shifting back and forth from the virtual to the real, selling the work to random followers that put up their names for this digital raffle.
One post at a time, shifting once again from the real to the digital, and for some, back to reality again.
This first stage of the project turned indeed into a neverending series, as he carries it through on his Instagram profile (@monkpictures), sharing and putting up for sale new drawings with their prices assigned by the total of the bill.
Almost as if he was playing to the history and stereotypes of many artists, bohemian or simply undiscovered, who lived one meal at a time, trading artworks for a hot plate.

© SMV – Studio Moretti Visani, 2021

Jonathan Monk is a British artist. He lives and works in Berlin.
Marines Salcedo Gutierrez is an undergraduate student in Arts Curating at Istituto Marangoni Firenze.

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