Travel, cultural exchanges and examination of history are not merely fashionable themes, but markers of a profound evolution in our vision of the world and our way of inhabiting it.

More generally, our globalize perception calls for new types of representation: our daily lives are played out against a more enormous backdrop than ever before, and depend now on transnational entities, short or long-distance journeys in a chaotic and teeming universe. Many signs suggest that the multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism, relational aesthetics and deconstruction.

The times seem propitious for the recomposition of modernity in the present, reconfigured according to the specific context within which we live – crucially in the age of globalisation – understood in its economic, political and cultural aspects.
Then, it becouse the full availability. Need to become ‘homo viator’, the prototype of the contemporary traveller whose passage through signs and formats refers to a contemporary experience of mobility, travel and transpassing.

This evolution can be seen in the way works are made: a new type of form is appearing, the journey-form, made of lines drawn both in space and time, materialising trajectories rather than destinations.
Creativity becomes need and need becomes creativity. The form of the projects expresses a course, a wishes to make something innovative but practice