Twelve giant photographs illustrated the Venetian phase, reflecting the artists’ condition of temporary guests: they portrayed themselves inside the apartments in which they lived, simultaneously integrated and extraneous to the urban fabric.

The resulting images are grouped together under the title Radar Living, with a clear reference to inhabiting. But this can be seen as a play on words in English and be transformed into “rather living”: to be in the condition of suspension which characterises a visitor, even a long-term visitor, yet one who does not really reside here; which is exactly what happens to these young artists, and also, in the unending process of hybridising, to the entire human race that is becoming increasingly nomadic, and to a European continent that is ever richer in its connections.

A peculiarity of Venice which the Radar artists capted, and this is paradoxical given the relationship the city has with its past, is its enormous activity of renewal. Building sights and cranes are there for all to see. And it is on the wooden sheds of the Insula building sites, where the construction tools are kept, that the Radar artists exhibit their ironic self-portraits.