A neon with the words "bread" inaugurates the exhibition itinerary. The work acts as a manifesto of Contemporanee / Contemporanei referring, on the one hand, to the production of bread in the ancient Provianda di Santa Marta and, on the other, with an explicitly metaphorical accent, to the current university destination of the building: the students must in fact be enabled to obtain their own livelihood in the future, through the knowledge and skills they will acquire during their studies, as well as to share the ethical foundations of common resources, symbolically represented by bread.

The contract that accompanies the work provided that the handwriting of the writing belonged to the collector Giorgio Fasol, who, in this way, symbolically signs the start of the exhibition itinerary.

In a performance lasting nearly 24 hours, the artist manually moved the hands of a large clock as each minute passed. Without the aid of any instrument, Moudov has only counted or followed his own perception of the passage of time. Without wishing to arrive at a specific metaphor, the work philosophically offers itself to multiple interpretations on the relationship between the human being and time.

The work is composed of two spheres, each of which contains another movable one. By handling them it is possible to simulate the succession of the six phases of the moon. The object seems to be the product of a nostalgic alchemist who proposes to measure the endless motion of two spheres, destined to chase each other without ever reaching each other. The title refers to the celestial geometries of which the undulating and elusive trajectories are contemplated. More than a fixed image, the work recalls a chain of images, evoking cosmic rhythms and sounds.

The sculpture looks like a three-dimensional drawing of the trajectories of some crazy beans. The legumes placed on the ground ideally splash into space, generating a continuous, unpredictable and colorful movement that generates abstract graphic signs. Respecting the idea behind the work, each time it is installed, the artist varies the folds of the aluminum tubes as desired, generating a new, playful, spatial constellation.

The work is a tribute to the actress Marlene Dietrich. The archive video used by Ventur shows the diva in London in 1972 when, in her seventies, she performed the song by Pete Seeger Where have all the flowers gone? (Where have all the flowers gone?). In the installation, a disco ball covered with mirrors multiplies the face of the actress in the environment, generating a firmament in which only Dietrich's disturbing and mysterious star shines.

Performance of a plant is a heap of rubble made up of fragments of works destroyed and set aside in the artist's studio. These are mainly concrete reproductions of floor plans of large international shopping centers. From these residues deposited pending their disposal, a plant was spontaneously born that the artist has decided to keep and use as the fulcrum of a new work. Nature, between chance, poetry and life force, reaffirms itself and gives life materially and conceptually to an otherwise inert material.

The theme of immigration is at the center of the research of the Albanian artist Adrian Paci. The photograph exhibited here portrays the artist's daughter dressed up as a princess posing inside the sumptuous Palazzo Visconti in Milan, where her father worked as a restorer during the early days of his move to Italy. The work is the result of his father's attempt to make his little girl feel special. In fact, the artist is not so much interested in the sociological category of the immigrant, but rather in the nostalgic dynamics, pragmatism and creative strategies that are activated by the new life conditions of these people.

The work freely takes its title from an episode narrated by Truman Capote in Padron Miseria. A photo on the wall shows the artist sliding a stick on a railing emulating the gesture of Sylvia, the protagonist of Capote's story. In the center of the room there is a beam that gives balance marked by some writings and drawings. Everything in the work seems to be aimed at celebrating the moods of adolescence, as if they contained an intimate truth to which, clumsily, as adults we turn our backs.

The tent shown here represents a sort of storyboard of Il diavolo nel pozzo, a puppet comedy born in Colombia around 1930. The script tells the self-destruction of a community convinced of the presence of the devil in the well of the country. The artist depicts some passages and salient images of the story in the squares of the tent where we recognize, among others, the devil, the well, the fields around the village or the killing of animals. The work is part of a project dedicated by the artist to the relationship between puppetry, oral tradition and the development of a revolutionary popular culture between Italy and South America in the early part of the twentieth century.

The artist violently carved a block of cedar wood. The action seems to have recently ended: on the ground there are the remains and the roughing is rough, unfinished. More than a sculpture, the work looks like what remains of an instinctive and strongly emotional gesture. The artist did not model, but attacked the work, leaving us his energy and a delicate and perfumed structure.

It is the artist herself who describes the idea that inspired the work: “Several times I have been told that to go on with art I would have to start licking. So I tried, coloring my tongue directly and trying to do it in the best of my ways. " The result is a series of colorful licks on canvas. Sarcastic, polychrome and violent, the work is the result of a cynical and insightful pragmatism.

Masashi Echigo usually takes long exploratory walks in places unknown to him and collects objects, suggestions and images that he encounters along the way. His artistic production was born from these fortuitous encounters. His works are in fact assemblages of discarded objects which, transfigured, become a constructive element of micro-architecture, a metaphor for the fragile relationships that unite men and places. In the case of the sculpture exhibited here, as the title suggests, the reference is probably to an oral memory, an apologue, a story collected by the artist near Rome.

A long pointed wooden stick holds a plaster head made from the mold of a tree and some sharp studs. The sculpture, part of a group of works presented at an exhibition at the Galerija Skuc in Ljubljana, is inspired by the musical performances of the thrash metal group Slayer. In part primordial mace, in part prickly stiletto, in part prophetic stick, the object refers to the liturgical imagery of musical rituals and appears, ironically, ready for use. Only its unlikely size suggests that it is a sculptural formalization.

The work is a foam rubber sculpture covered with a technical fabric. The patterns of the coating are the result of scanning a piece of canvas moved by the artist during the acquisition process. The resulting images were then digitally processed by eliminating some bits of color, finally printed and stitched around a shape. The final result manifests the different levels of translation between a two-dimensional image and its phantasmatic sculptural imprint.

A large amount of white nylon thread lies on the floor. Light and organic, the sculpture seems to be traversed by a latent vitality. It seems to move, breathe, or take on another form on its own. From another point of view, the filamentous tangle - which a careful glance recognizes as the ideal expansion of some salt crystals placed on the ground - resembles the trajectories of a celestial orbit. However you want to see it, that shapeless and restless sculpture speaks to us of a total time and nature and of the possible appearances that our soul could take on.

The work is part of the Redefining the Power series in which the artist portrays a series of Luandese performers posing on empty pedestals in the country, a legacy of the monuments of colonialism. The photographs were taken reproducing the perspective of a series of historical postcards in circulation at the time of the Portuguese occupation. The statues were removed after Angola's declaration of independence and the plinths have remained empty ever since. While the government imagines a future for those supports, the artist hopes for a social evolution that sees the new generations as protagonists.

The skeleton of a typewriter is displayed as if it were a bas-relief. The artist has eliminated all the keys except those that make up the word “noise”. Everything in the work conceptually refers to music. The word, like writing, is presented as pure sound even before being meaning. Likewise the typewriter is exhibited as a sculptural and rhythmic device.

Jessica Stockholder assemblies tend to transfigure the familiarity of common objects into works of art. The altered relationships between the parts and a strong sense of color are orchestrated in paintings with a strong pictorial value. As for the work exhibited here, making use of the illusionistic space generated by the composition and the alternation of surfaces, the artist's artifacts invite to an experience of fantasy and fiction.