Who we are
Our clients are people involved in promoting the excellence of Made in Italy abroad, and our goal is to interface with agents / representatives / architects interested in representing and proposing the artworks, both to hotels and eventually to companies and individuals (luxury homes)
At the moment a series of artworks are exhibited in the luxury hotel "MR. C. Residence " in Beverly Hills, Los Angeles and a very large installation in the new CIPRIANI Restaurant in New York City
Rivus Altus art-project started as a pure artistic installation with an exhibition organized in 2016 behind the Galleria dell’Accademia in Venice. It was an installation where people ripping the pictures hanging on the wall, contributed to the daily change of the large mosaic hanging on the wall, composed of blocks of photographs for a total of over 5,000.
The exhibition was sponsored by the City of Venice and the IUAV University
After this exhibition we started to create artworks composed of photographic fragments, unique artworks that now we are installing all over the world
RIVUS ALTUS - 10.000 visual fragments from the Rialto bridge, Venice
Max Farina recorded with his camera every variation of light and everything that happened, staying still for 264 hours at the same place: the centre of the Rialto Bridge, the most crowded and photographed place in Venice, facing the Grand Canal. In two years, Massimiliano Farina has caught any change, focusing his attention on the single fragments that make up the landscape, as if looking through the eyes of flies and dragonflies. The result is not a single image, but a multiplicity of images.
The visual perception depends on the variable and almost infinitely changeable editing, of every single piece that make up a perfect and unstable, fascinating and ever-changing landscape: both night and day, sunrise and sunset, yesterday and the day before yesterday ... Similar to puzzles, his images do not capture one single moment, but they become a perspective drawn by the time going by. They don’t interpret anything in a subjective or expressive way, but enhance the camera and its “mechanical” look, like a magical recording tool.
Farina uses photography to create images that you can only get thanks to the camera and to its technological unconscious. He “shatters the stereotype of Venice” and offers a kind of machine à voir which invites us to see the Grand Canal as through a magnifying glass, to scrutinize the slightest details made by light and darkness, waters and skies, buildings and boats, crowds and silence...