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language and artistic disciplines such as painting, sculpture, film, and especially in this case, architecture. The same photo-montages have the role to remember that there is always a different point of view, that each part is a part of a whole, that every story is a part of an universal history.

The context in which Jesús Madriñán has developed his project is the classical portraiture context. However he has worked using a large-format analog camera not to take pictures in a studio with all the amenities required but in complex environments such as nightclubs and dancefloors or after-hours. With his action the noisy and the situation often without control are turned into an atmosphere of calm and serenity. Some images are poetical, some other serious, some others elegiac or imaginative. Also in this case art have the power to change the reality and show a different point of view on it. Clara Montoya shows a series of 8 pieces speaking of Rome as a continuous mutate, repair and rebuild. After the dismissal of her initial project some ideas began to appear to her as partial visions of something bigger, of a complex geometry as in the sculpture-application (for Ipad) connetting the oculus of the Pantheon with the passing of the sky, influencing the constellations within the screen with the others going out. The project includes a series of small sculptures on the wall related to kintsugi (a Japanese technique that repairs what is broken and ascribes more value to objects with a scar rather than intact objects) and the structure of a Haiku. There is also a video-sculpture about Carrara, thinking the iconic quarry as a place to stay in the sculpture. As part of the process there are three lab-sculptures with a pair each: a block of marble that melts with the acid and a copper piece slowly building itself by electrolysis. A story about the molecular mutation of things, the imperceptible changes. Finally a sound-sculpture with real water and a hidden system, so that you can hear only a permanent and unstoppable murmur, always the same and always different. The filmaker David Munoz has started his project in Rome reflecting on the fact that this year is an unusual year: The Extraordinary Jubilee of Mercy that is a Roman Catholic period of prayer held from the Feast of the Immaculate Conception (December 8), 2015, to the Feast of Christ the King (November 20), 2016. A period for remission of sins and universal pardon focusing particularly on God's forgiveness and mercy. From this point of view Rome is a characteristic city because in Vatican some persons manage the guilts and absolve people from them. An uncommon situation in which people is willing to talk, to listen to, to meet. It can happen everywhere. So in “Veloce Vita” Munoz transforms Vespa scooters in confessionals recording people traveling in the city with their Vespa talking about their lives, memories and dreams. Josep Tornero in his painting project “Gods, animals and Death” reflects on the Dionysian in the Baroque artistic style recalling Nietzsche’s description of the Apollonian/Dionysian dialectic in The Birth of Tragedy. Order and disorder. Rationality and fantasy. From this point of view we cannot separate aesthetics, ethics, or metaphysics; they remain deeply entangled because to separate any from the others is to diminish each. According to Tornero's search the Dionysian happening in several forms and values: metamorphosis,