In an artistic landscape increasingly traversed by hybrid languages and technological systems, the work of Giuliana Cuneaz has been positioned for decades in a border area between art, science, and technology. A research that does not arise as an opportunistic choice, but as a deep necessity.
«I believe it is an inevitable need given that science and technology are omnipresent in contemporary society», the artist says. «We are experiencing one of the greatest revolutions ever and the world is changing at an impressive speed».
For Cuneaz, this interdisciplinary dialogue is also a form of wonder: «I have always been intrigued and fascinated by both technology and science and its discoveries, also because, as the American physicist Richard Feynman explained well, scientific knowledge contributes to expanding the sense of wonder, mystery, and admiration towards things».
An interest that translates into an artistic journey studded with scientific references: from astronomy to medicine, from anthropology to quantum physics.
An attitude already evident in its beginnings. «Just remember the work exhibited in my first exhibition in the mid-eighties titled Archéopteryx. It was an environmental and interactive installation that stemmed from the desire to capture the imprint of the stars in relation to the Earth’s rotation».
A project carried out through essential yet conceptually sophisticated devices: «Three mirror-like and “inhabitable” cones with a pinhole at the top. These elements functioned as actual photographic devices».
Matter, energy, and metamorphosis
At the base of his research lies a fundamental principle: transformation.
«Matter and energy are two sides of the same coin: one can transform into the other and vice versa», explains Cuneaz. «The processes of transformation have always engaged me. From the genesis of forms to the vital flow that permeates every living being».
But the metamorphosis in his work is not only physical: it also concerns perception, imagination, and thought. «Even thought and imagination, just like the dream, are fluid processes, unstoppable flows of images, concepts, memory. They are incredible faculties that allow us to create worlds».
Diving as a language, not as an obligation
In his work, the experience of the spectator can become immersive, but it is never a dogma. «The immersive experience is important and functional to the project. I do not always consider it necessary. It should be used when needed».
An example is the work La Belle au bois dormant: «Everyone can lie down on the canopy bed I created, viewing their own dream after leaving a sign trace on a tablet. The data is reprocessed by an artificial intelligence program that acts based on the archival information acquired from my works».
The digital as a cultural bias
One of the central themes of the interview concerns the market’s resistance towards digital art. According to Cuneaz, it is more of a historical distortion than an intrinsic limitation of the medium.
«It is a prejudice that has lasted for many years, fueled by a market that hinders digital to support more traditional and easier-to-consume expressions».
And he adds: «I believe that the “materiality” is a fake problem. In my works, the digital has often coexisted with other linguistic expressions».
This is demonstrated by works such as screen painting or Matter waves unseen, acquired by the National Museum of Digital Art in Milan, where «the animation becomes an integral part of a wunderkammer with clay objects that evoke archaeological artifacts».
Market, collecting, and institutions
Resistance is not only about the public but also the art system. «Unfortunately not. There are too many interests of galleries and auction houses in keeping the status quo unchanged», says the artist about the level of openness of the market.
However, something is changing: «My collectors are generally people who know how to face new things with awareness. And there is a growing interest from public institutions».
The value of the digital artwork
Even on the economic level, according to Cuneaz, there are no substantial differences compared to traditional art. «The criteria are the same as other art forms: the artist’s history and exhibition curriculum are evaluated».
The market ranges are wide: «In my case, there are digital drawing accessible even below 5 thousand euros and very complex installations that can exceed 50 thousand euros».
A system still in transition
On the future of the contemporary art market, the artist identifies signals of transformation but also structural fragilities.
«The creaks are evident and the fair system appears to be in difficulty», he observes. But at the same time, he envisions an inevitable evolution: «It is not difficult to imagine large screens containing works by multiple artists. Artificial intelligence is already part of the new aesthetics».
In this direction, Cuneaz foresees a possible synthesis between physical and digital: «I believe that this could be a good transitional formula between material and immaterial».
The work of Giuliana Cuneaz constantly moves between different dimensions: scientific, aesthetic, technological, and imaginative. A fluid system in which, as in her works, «matter and energy are two sides of the same coin».
A research that does not simply illustrate the change of the contemporary world, but traverses it, questions it, and transforms it into a sensitive experience.
Image: Giuliana Cuneaz, Il Disegnatore di Luce, 2020
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
