I’m Margherita, a sound artist and artistic researcher from Italy, based between Venice and Berlin. My path is not linear, I studied Fashion Design and then Visual Arts (MA) at IUAV University in Venice, and along the way I found that my territory was sound. My master’s thesis, on the listening body, sub-bass frequencies, and the way sound becomes a collective, physical experience, is the theoretical spine of everything I do now.
My work sits at the intersection of three things: artistic practice, independent research, and cultural communication. As an artist, I work with music production, sound design, spatial audio, and field recordings. I’m interested in sound not as something you simply hear, but as the space your body becomes. As a researcher, I focus on embodied listening, low frequencies, and the political and ontological dimension of collective sonic experience. And as a communicator, I write for an independent electronic music magazine and manage visual identity and communication for cultural and commercial clients.
This double competence, being both an artist and a communicator, is what I’m building my independent practice around: a studio called RAW.TXT, where research-driven sound work and the communication that makes it visible and fundable finally live under one roof.
I applied to EYE because I already have the creative output, but I lack the structure to make it sustainable. I know how to make the work, but what I don’t yet know is how to fund it, how to design cultural projects that institutions will support, how to keep an independent artistic practice alive financially over time. These are exactly the skills that determine whether an artistic career survives, and they’re rarely taught anywhere.
It wasn’t a friend’s influence or simply the wish to go abroad–though I’ve worked abroad before, in Georgia and the Netherlands, and I know how much a new context sharpens you. It was the specific opportunity to learn these things from the inside, working alongside someone who already sustains exactly the kind of hybrid practice I’m trying to build: an independent artist-researcher who holds together composition, research, teaching, and European fundraising without an institution behind him.
On the professional side, I expect to come out with direct experience of how European grant applications are actually written, how workshops and educational formats are designed and priced, how the finances of an independent practice are managed month by month. Concretely, I want to leave with the operational model of my own studio ready to launch, and with a European professional network that connects the Italian cultural ecosystem to the Berlin experimental sound scene.
But I think the human growth matters just as much. For a long time I under-presented my own work. I called it “not serious,” I framed my ideas tentatively, and people took them exactly as tentatively as I offered them. This experience is teaching me to claim my practice with the seriousness it deserves. To move from understanding something as a researcher to owning it as an artist and as an entrepreneur. Learning to build a sustainable life around what I care about–without sacrificing the art to survive, or survival to the art–is, for me, the real growth. That’s what I’m here for.