Atmosfera
In the context of Spazi Neonati, a project for the humanization of the relationship spaces of the Neonatal Intensive care unit at the Sant’Anna hospital in Turin promoted by Dear-Design Around Onlus and Foundation for The Architettura of Turin, the site-specific work Atmosfera, curated by Arteco, and was born starting from archive material from Collezioni di Banca Intesa Sanpaolo (paintings from XVII and XVIII in the Piedmont area). It was thus intended to contribute to the construction environment capable of responding to the needs emerged from the voices of those who live in the hospital ward (parents of young patients as well as medical and paramedical staff), enriching the architectural project of the spaces with an artistic dimension, considered necessary to restore the complexity of the needs identified. The cloud is the element of nature that has made it possible to translate the polarities that characterize an environment - like light/dark, closeness/separation, intimacy/relationship, speed/slowness, stasis/change - into a form. The clouds are always there somewhere and greatly influence life with their manifestations.
In their nature of elusive and intangible elements, dynamic and in constant change they are the symbol of waiting for what has yet to be defined, which can evolve for better or for worse, but you do not have the power to change it.
Through this prerogative, in this work the artist has used analogue photography, intended as a technical methodology that obliges you to wait, in which full control of the result is lost. With the intention of giving greater prominence to the theme of unpredictability and the uncontrolled, a slide film was used which was then developed with a process, cross processing, which allows for unpredictable chromatic impressions.
The project intends to create cross-sections in the spaces of the hospital, "windows” that can determine a new luminosity, openings towards what is known and everyday , but tangibly out of ones control.
By printing the photographs on a transparent surface, and by superimposing two different shots, it was possible to create a perspective composition with a vibrant depth in which the clouds add up, giving life to new colors and shapes.
The dialogue between two shots, and between elaborate and elaborate, allows an atmosphere characterized by tones of acceptance and at the same time of evasion to manifest itself, through the imaginary motion, which takes up the opposites mentioned at the beginning, between inside outside, intimate shared.
Prints on debond and on translucent film applied under polycarbonate starting from diapositive photographic film.
250×115 cm., 230×105,8 cm.
2022







Selected projects
Silvia Margaria (Savigliano, 1985) lives and works in Turin.
After studying at the Accademia Albertina di Belle Arti in Turin, she spent a few years at the film archive of the Museo Nazionale del Cinema in Turin, working in the film inspection and cataloguing department. This experience profoundly shaped her artistic research, fostering a methodology based on observation, waiting, deceleration and discovery, as well as a conscious attention to the dynamics of preservation and disappearance.
Her practice unfolds through photography, installation, video, archival research and site-specific projects. Through dialogue with visual traces, memories and landscapes, her work investigates the relationships between memory and oblivion, fragility and permanence, human and non-human environments. Her research pays particular attention to contingencies, fragments, latent narratives and the coexistence of opposing forces.
She has been a member of Progetto Diogene and she is co-founder of Progetti Specifici, an independent association dedicated to contemporary art research. She has also worked as tutor and coordinator for artistic residency and research programs, including Casa Walser, Hòbelté (2021) and The Unseen, Progetto Diogene (2017–2019). In 2025, she is one of the founders of Emulsioni, a festival of analogue photography held in Ferrania (SV), on the site of the former film factory.
“Friction, between a nature that reveals itself and at the same time retreats into its most essential part, is the very secret of nature, namely the invisible reason of which the world is its external manifestation. Silvia Margaria’s poetic vision straddles this very point: the artist seeks the imperceptible part of nature and explores its process of appearing with an observational work based on the desire to understand the mystery of life as it runs its course. Her work, in line with what it explores, is configured in the ambiguity of opposites (scattering/concentration – hiding/revealing – searching/finding – one/many – solitude/collectivity – communication/relationship – remembrance/oblivion – resistance/change) in relation to each other rather than in their divergent reciprocation, through the processing of the transitive quality of concepts, so that the consequential motion that characterises the natural flux of things can be drawn from their dialogic link.”
(Alice Zannoni, curator of the personal exhibition “La natura (non) ama nascondersi”, Cubo – spazio arte, Bologna, 2021).