Marco Caterini


The idea of the sublime has been around for centuries, starting with the association made from Romans with rhetoric, and the later - and the most popular – association of this idea with the frightening beauty of the natural landscape from Burke to Kant, then briefly passing to culture with Lyotard.

After two centuries of industrialization we can clearly state that the aesthetic of the sublime first overlapped and then decisively shifted over the aesthetic of the technical (the industry) and trespassing to the technological (digitalization); where, in my opinion, being power plants the most representative artifact of the technical category of beauty and its engagement with landscape.

Those artifact and technologies although hided from the general gaze become very important, with foreign energy policies grounding most of the major global disputes and discords of the last decades, from the Gulf War to the Afghan and Iraqi War.


Born in Arezzo in 1976, Marco is a visual artist and independent photographer. His education is characterized by a strong attraction toward visual arts but with a keen interest also in various disciplines.

In his images he represents the urban traces of contemporary political, economical and social trends, making evident the close relationship between capital, power and space, which is deeply influencing globally the shape of cities and their suburbs and facilitating the emergence of phenomena such as the exponential growth in the size and number of cities, megacities and large urban conglomerates in Southeast Asia and, at the same time, contributing to the emergence of deep economic, social and spatial inequalities within the urban fabric, but also to impose pre-established ways in which people and the human and social body interact, socialize, develops and unfolds.

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