Toledano refers to his style as ‘historical surrealism’, a reflection on the fluidity of truth in a world that is increasingly dominated by subjective narratives. Evoking the iconography of the US in the 1940s and 1950s, his photographs mix familiarity and dissonance to explore the role of technology in redefining collective memory. The photographs and thought-provoking text create a multi-sensory dialogue that challenges the viewer to question the images. The British artist constructs a world that is both realistic and deeply surreal using AI. In an age marked by conspiracy theories and alternative narratives, Phillip Toledano invites the audience to reflect on the risks and opportunities o@ered by artificial intelligence in creating new realities. Where facts are just tools to be interpreted, this is an exciting new era for how truth is presented. The book opens with a crucial sentence: ‘Truth in America has been slowly dying over the last decade’. This insight underscores the central theme of Toledano’s work: the ability to recreate the world as it has never been before. Reflecting the paradox of our time, his frameworks, though familiar, are inherently dissonant. We are left with profound and disturbing questions: did it really happen? What is true? The artist acknowledges that the interaction with AI o@ers a unique perspective on contemporary storytelling. Artificial intelligence’s appeal is precisely in being able to alter perceptions of truth, revealing a new way of shaping and reinterpreting history.

Rediscovering the beauty of spontaneity and self-acceptance is Keila Guilarte‘s call to action. The Free Spirit project is a hymn to life lived to the fullest, with images that convey a sense of joy and celebration of the uniqueness of everyone. In her new series of photographs, the artist rips away the veil of the ordinary to reveal the magic inherent in the simplest of moments. The works on display are not just snapshots, but an invitation to dive into the emotion and beauty of freedom, to let yourself go with the overwhelming joy of movement, action and being present in the here and now. Keila has a gift for turning ordinary moments into extraordinary experiences, and her vision is a reminder that beauty can be found in the smallest of details.

Donatella Izzo trained at the Brera Academy of Fine Arts in Milan and began her career as a painter but soon photography became the privileged mean through which she built an entire iconographic paradigm rich in symbolism and metaphors, far from any didactic intent. Her works recall ancient atmospheres and feelings, through a composition of languages ​​and overlapping of artistic practices. Izzo has participated in group exhibitions both in Italy and abroad among the galleries that have hosted his works: Beauchamp in London (2011), Angel Orensanz Foundation in New York (2013), Galeria Fotografi Miasta (Poland- Rzeszòw, 2014) , Akashi Gallery (Barcelona, ​​2014), Espacio 8 (Madrid, 2014) and Fabbrica del Vapore in Milan (2015). In 2019 she exhibits at Palazzo Grillo in Genoa with the exhibition “Other Identity” curated by F. Arena, at Palazzo Silva in the exhibition “The room where I like to be alone” curated by A. D ’Amico. The personal “Family Tree” at the La Bottega Gallery in Pietrasanta curated by F. Mutti (2017) the collective “No-Face” at the Kunsthalle in Lana (Bz) curated by A. Tricoli (2018). She exhibited at Wopart Lugano 2019 as part of a collective exhibition curated by Patrizia Madau (Tallulah Studio Art), and participated in the Arcus Pride Art Milan Exhibition 2019, (Studio Clifford Chance Milano), also curated by Patrizia Madau, She recently exhibited at the Fabbrica del Vapore in Milan, with the personal exhibition “The Dreamers. Dreamers in the time of abandonment” sponsored by the Cariplo Foundation, you participated with Tallulah Studio Art (Cluster) at MIA Fair 2021.

The White Sands photo series was created during Wexler’s visit to New Mexico in March 2024. In this otherworldly landscape, Wexler captured a meditation on ethereal cinematic elements. This series of work harnesses a painterly spirit, dividing the landscape into color fields that evoke both minimalism and mid-century gestures of abstract expressionism. The tonality of the sand echoes ocean waves and arctic snow, all framed within Wexler’s sublime desert paradox.