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CHAMBRE 2024

Second edition of Chambres ai mH Florence Hotel & Spa, a project created by director Irene Vezzosi, conceived and curated by artists (and professors at the Accademia di Belle Arti in Florence) Pantani-Surace and Paolo Parisi.

From 28 November 2024 to 30 May 2025 , Chambres transforms the hotel into a unique space for dialogue with art. The lounges, rooms and corridors of the elegant mH Florence Hotel & Spa will host the works - sculpture, painting, photography, video, installation - of Maura Bazzi, Marcela Castanedo Florián, Giovanni Ceruti, Pietro Desirò, Marta Fumanti, Yasmine Kachni, Maddalena Lotti, Ramona Marano and Gianluca Garu Paionni , very young artists still in training at the Accademia di Belle Arti in Florence. An initiative that offers visitors and guests a way to approach art away from the traditional museum and gallery circuits.

The project, curated by artists Pantani-Surace and Paolo Parisi , aims to subvert the expectations of those who cross the hotel’s threshold to experience art outside of traditional spaces, taking advantage of the continuous alternation of guests and travellers as an opportunity to bring art to life in perpetual motion. “We are not in a museum or a gallery,” the curators stress , “but in a space of passage where contemporary artistic languages meet the unconscious gaze of those who stop for a short space of time, establishing a relationship that is constantly renewed.” This edition of Chambres wanted, compared to the previous one, to put very young artists, still in training, to the test with a place like this, made up of continuous encounters and exchanges.
Maura Bazzi - [Ferrara, 1979]
Habeam Corpus · 2024 · digital video 1920×1080 2’32”

The title refers to the principle of Habeas Corpus, which establishes the protection of personal freedom, and transposes it into the first person: “that I have (my) body” as an imperative affirmation of the Natural Law of the Right to Life.
The artwork plays with three visual elements (flowers, body, bombs): shootings have a slight slow motion and frame details; explosions, taken from the web, are enlarged, slowed down and reversed.
Maura Bazzi - [Ferrara, 1979]
Bruciature · 2023 · digital video, full HD 1920x1080 0’27” (in loop)

The work plays with the dispersal of the image in the disturbance of the screen, through the overlapping of the lines of the loss of signal to the waves of the sea, precisely at the moment in which the image appears almost in focus.
The relationship between man and nature is increasingly mediated, we are too distracted by the technology pervasiveness, nature is a desire that we cannot enjoy and becomes a metaphor for what, when you are about to reach it, escapes, like the definition of the image that mixes with the interference. Even the title plays with ambiguity: a “burnt” image, on a technical level, is obtained due to an excessive presence of light, like our skin in the sun, but the burn can also be, symbolically, the trace of something that marks you.
Marcela Castañeda Florián - [Bogotá, 1992]
Architettura di sopravvivenz · 2024 · series of photos, digital print · 60×40 cm

In the Architecture of Survival project, Marcela Castañeda Florian takes us on a deep journey exploring the indissoluble bond between inhabiting spaces and human survival. Through a series of fifteen photographs, captured in the Colombian outskirts, such as El Pozón in Cartagena and the Comunas of Medellín, the artist offers a visual map that reflects the reality of many global urban contexts.
Giovanni Ceruti - [Firenze, 2000]
Senza titolo 9 (DIARIES) · 2023 · oil on canvas· 110×85 cm

In this series of paintings a childish spirit is recovered, characterized by lexical errors, nonsense and contradictions: when a child makes lexical errors (I FEEL BOOK), or pairs words that are incompatible (CAR CATERPILLAR DOLPHIN DRUG), or, again (WE DID OUR HOMEWORK AND WE SHOUTED), together with the marks that sometimes appear on the back of the sheet of paper, they create meanings that fall outside the realm in which adults are accustomed to thinking and acting.
Pietro Desirò - [Poggibonsi, 1994]
Cicli · 2024 · Jesmonite AC100, Jesmonite AC730, Armenian natural pigments, fiberglass and Leocobrium moss · variable dimensions

By producing casts, which in some way reflects the human desire or state of mind to sample and reproduce the environment around us, Cycles focuses on nature and the urgency to protect, reproduce, and nurture micro-ecosystems.
Moss then becomes a vehicle through which time, if left to its own devices, expands, gradually conquering the entire surface it occupies.
Marta Fumanti - [Perugia, 1999]
Dove ci incontriamo · 2024 · digital print · 16x28 cm

The series of three photographs Where We Meet explores the delicate balance between nature and human-made artifice, highlighting how these two seemingly opposing worlds not only clash but often find common ground for coexistence and dialogue. This suspended image emphasizes their intrinsic connection, showing that even in situations of apparent contrast, there exists a profound interaction and integration.
Gianluca Garu Paionni - [Arezzo,1993]
Senza Titolo (Tanto Ridi, Quanto Piangi) · 2024 · digital photo on paper · 21×29×3 cm

What we love requires care. There’s a certain purity in the pursuit of caring for things, a conscious awakening considered naive in a frantic world focused on production, money, and consumption.
The three images are printed on different types of paper. The audience is invited to engage with the work not only through sight but also through touch.
Yasmine Kachni - [Pontedera, 2002]
Oltre il visibile · 2023 · fine art photo print · 70×100 cm

The work deals with the notions of presence and absence. What emerges is the essence of the figure, without superfluous details and which is not possible to enclose in a body but is possible to trace in the shadow of the continuous evolution of the movement: freezing that shadow. That nuance in a single shot is equivalent to having an alive image.
Maddalena Lotti - [Firenze, 2005]
Super offerta! · 2024 · concrete, tempera, printed cardboard · 72×25×100 cm

In a Florence where everything—from public spaces to our lifestyle and traditions—has become monetizable, what remains is to sell is even the pigeons, deemed a waste and a burden for the city’s showcase.
The artwork’s title is drawn from this large-scale sell-off.
Ramona Marano - [Trapani, 2000]
È solo frutto della mia fantasia? · 2024 · digital inkjet print on uncoated paper 120 g/m2 · 70×100 cm

È solo frutto della mia fantasia? would like to be an immersive journey which stimulates the reflection on the very nature of perception. Pictures of real places turn into surreal visions where tangible elements are intertwined with the imaginary world and create hybrid scenarios. Each viewer is free to read the link between text and image and is free to explore new dimensions of perception, reconsidering our relation with reality.

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