”The entrance (Ianua) altered by Livia's intervention places us in an apparently empty space. And if, again, we go back to paying attention to the space in which we are located, we run into a QR code that invites us to use personal devices. Here, we are thus directly immersed in the Augmented Reality of an unfinished architectural building with a classic contemporary style, a monster erected in 1958 and never finished, present near Bologna. One wonders, as Marca Augé argues, if certain ruins prefigure something of a possible future or remain nothing but fascinating and grandiose representations of abandoned dreams. I believe that Livia, through the augmented reality she created, opens us up to the first hypothesis. You not only place an abandoned place in a lived-in interior, but you also insert it in a media environment, allowing new life to a building deprived of its functionality - and never even known - which acquires, in this context, value artistic. The immersion varies according to the direction of the device and it is possible to arbitrarily choose the overlap of real and digital. It is precisely here, in rethinking the physical body and the immaterial body, that Livia's artistic practice takes place: it begins with the fascination for construction and waste materials used to structure architectural and scenographic elements and develops in the mediation of new technologies. In any case, the artist, through material and digital manipulation, attempts to alter the common perception, investigate the relationship that is triggered between the user and the surrounding reality or digitally produced reality. In other words, it is a practice like the theatrical one in the juxtaposition of a scenic space within which the body and the setting, physical or digital, perform.”

cit. Linda Carluccio.