On December 10, 2025, the solo exhibition of Emanuela Moretti a screen has no edges, opens, the occasion to present the new Roman space Studio Orma.
Studio Orma, the new Roman space in Monteverde Vecchia
Studio Orma is a newly established exhibition space dedicated to contemporary art, in the heart of Monteverde. Founded by Edoardo Innaro and Marco Celentani, it was created thanks to a dense network of collaborations among young creatives active in various fields. Studio Orma is conceived as a “human laboratory,” where art is a tool for experimentation and anthropological cultivation. It is a hybrid between an artist-run space, project room, and gallery: meeting, dialogue, and relational fabric are the core of the studio’s activity.
The name of the space alludes to an archaic dimension of expression. The exhibition program of Studio Orma focuses on the new generation of under 30 artists, with particular attention to emerging languages and formats that challenge conventions.
Studio Orma favors site-specific projects aimed at transforming the space and exploring its formal possibilities, starting from a fundamental question: what are the limits of a room?
https://www.instagram.com/studioorma
The exhibition of Emanuela Moretti
The exhibition a screen has no edges, solo show by Emanuela Moretti, reconstructs a domestic interior, both familiar and disquieting. It is inhabited by amorphous forms, simulacra of a fragmented female body that seems to deform in an attempt to live multiple existences simultaneously. The body expands into the space like a hybrid organism: we distinguish mechanical vertebrae that resemble the morphology of insects.
The space is populated by everyday objects – a curtain, a sink, a mirror. They refer to a dual dimension, interior and exterior. On the curtain is printed the nape of a girl, an image suspended between intimacy and distance, between presence and reflection. The curator Gianlorenzo Chiaraluce explains: «The curtain, usually conceived to filter a window, actually covers nothing: behind it, there is only a wall. Its function is therefore simulated, illusory, addressing an opening that effectively does not exist. More generally, therefore, it refers to the interiorization of an experience of communication and interpenetration between internal and external spaces».
a screen has no edges, the title
The title of the exhibition – a screen has no edges – alludes to an image without limits or defined boundaries. The artist explores the surface of the screen as a new epidermis. The screen is a plane of contact and friction where reality, body, and representation become confused. «The screen becomes a vital prosthesis, an extension of perception potentially extendable to infinity. A meat grinder of stimuli and images – states Chiaraluce – that mixes fragments of our own and others’ lives, a device that filters and returns a reflected world».
On display, the sculptures take on the appearance of mechanomorphic organisms. They are light structures, modular vertebrae that resemble a backbone, skeleton, and at the same time, the infrastructure of a body in continuous mutation. On these surfaces, digital prints of skins and epidermal fragments are grafted. The prints return grainy, low-definition images that reveal their digital origin. They do not simulate reality but reinterpret it as an artificial skin. A skin composed of a few pixels, livid, crossed by veins and residues of blood.
Next to these elements, the mirror and the sink – real or photographic – become allegories of self-care and the obsession with image. The false eyelashes applied on reflective surfaces evoke the particles of dust and skin that everyone leaves in the environment, traces of our passage and our presence in the space.
Image and identity, what is our true nature?
The exhibition questions a radical theme: what is today the true image of ourselves?
Is it the one that fragments into a thousand digital frames, or the one that exists in direct contact with the other? Moretti’s work constructs an environment where the physical dimension and the hyper-real one overlap. As happens in the continuous flow of images generated by artificial intelligence, where the real merges with the fictitious up to hallucination.
The modularity of the sculptures – concatenated vertebrae, infinitely reproducible surfaces – reflects the way we build and multiply representations of the body today. We incessantly add blocks and layers to a large digital organism. As the curator points out, «Moretti’s work stages the paradox of our era. A mechanized, industrial, and steel reality that, while incessantly negotiating its materiality, still tries to preserve a carnal residue».
“a screen has no edges” is a reflection on the contemporary body and its image. The body dismembers and regenerates, inhabiting an increasingly ambiguous space.
