ARTS
Maurizio Montoneri (Mons) demonstrates a multidisciplinary artistic skill set that bridges electronic music, performance, and media art. As a DJ and electronic music producer, he specializes in techno and experimental electronic forms, with a strong focus on atmosphere, minimal structures, and immersive sound design. His musical skills extend beyond club contexts toward narrative-driven and sensory compositions.
Mons is also highly skilled in interdisciplinary performance, integrating live DJ sets with theatre, spoken word, and visual elements. He has developed and performed in hybrid formats that combine dramaturgy and electronic sound, showing a refined ability to synchronize music with narrative and stage action.
In the field of radio art, Montoneri has significant experience in conceptual radio programming, creating experimental broadcasts that merge storytelling, literary references, and digital audio manipulation. His work reflects strong curatorial, collaborative, and conceptual skills, particularly in projects that involve directors, actors, and performers.
Overall, his artistic profile is defined by versatility, cross-disciplinary thinking, and a consistent exploration of the relationship between sound, narrative, and technology within contemporary multimedia practices.
GRAPHICS
Mons distills form to its structural essence, drawing clearly from Bauhaus principles of reduction, functionality, and visual economy. These works reject description in favor of sign: animals, faces, and urban fragments are rendered as geometric tensions between mass, void, and chromatic accent. Color operates with disciplined force—red, black, blue, and grey act as semantic triggers rather than decoration. The result is a controlled graphic metaphysics in which modernist rigor meets symbolic ambiguity, and imagery becomes both archetype and diagram.
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VISUAL
Mons conceives video as a metaphysical device rather than a narrative form: suspended gestures, emptied spaces, and cyclical motion evoke a stillness where time appears stalled yet insistently present. His use of antique cinema effects—flicker, grain, optical imperfection—functions not as nostalgia but as critical distance, reactivating the image as an artifact rather than a window. In the Merry Go Round episodes with Julian Lennon, this aesthetic strips celebrity of spectacle and reframes it as apparition: a figure caught between memory and projection. The work achieves a restrained intensity, where repetition becomes ontology and cinema remembers itself.
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MUSIC
He approaches the DJ set as a compositional structure rather than a sequence of tracks. His selections privilege texture, tension, and temporal drift, allowing genres to dissolve into a coherent sonic architecture. Transitions are understated yet deliberate, emphasizing atmosphere over climax and repetition over spectacle. The result is a refined, hypnotic experience in which sound functions as spatial design and the dancefloor becomes a site of controlled immersion rather than release.
