” To grasp grasp the grandness of Rome is beyond the power of the eye or the mind.”
For the latest edition of Altaroma, A.I. Artisanal Intelligence celebrates the city of Rome as a key destination of the creative journey of contemporary artists and designers. In occasion of the 200th anniversary of the publication of the first edition of J.W. Goethe’s ‘Italian Journey’, the project curated by Clara Tosi Pamphili and Alessio de’ Navasques, rediscovers the incredible power of the eternal city of inspiring generations of artists, poets, directors and writers. Facing the timeless beauty of its monuments, the richness of its cultural heritage, its grand palaces and countless fountains, up-and-coming designers collect creative suggestions to build their identity. Rather than a simple meeting with other cultures, the Grand Tour is the exploration of a place that let us discover something new of ourselves, it is the romantic research for experiences guided by memories: a personal quest that involves daring to look beyond things. Based on these concepts, A.I. Grand Tour presents the creations of several designers and artists inspired by the concept of travelling through time and history. From Faraoni 137 jewellery pieces that include micro mosaic of major Roman monuments, to the neoclassical romanticism of Celeste Pisenti and Stefano Russo, the visitors embark on a journey that links together fashion, art and cinema to celebrate craftsmanship and innovation. Highlights of the show were the semi-couture garments by Dutch designer Gergei Erdei, a freshly graduate student from the London College of Fashion in Fashion Design and Technology, who uses 19th century costumes and vintage fabrics to create contemporary designs. Fascinated by the signs of time and the patina that covers entirely the Eternal City, he used hand dying techniques and natural pigments to achieve this effect on aged textures, reproducing the olden-day luster of the clothing worn by 19th century Grand Tour’s dandies. German artist and London-based Ophelia Finke brought to the exhibition a conceptual twist, recreating a frozen landscape featuring an abandoned jeep and yellow lemons, referring to the end of a mechanical journey and nature’s consequent take over.