The exhibition is ideally linked to the centenary of the conclusion of the First World War, proposing a path that, through the art of two centuries, reflects on conflicts in a broader way, artistic and poetic, personal and collective, aesthetic and ethical. The exhibition proceeds by assonances, contrasts, harmonies and disharmonies, without a chronological criterion. An itinerary that suggests and testifies to multiple readings on war. The works chosen for the exhibition intend to illustrate the tension that has always existed between individual creativity and the urgency to confront such a pervasive theme.

The arrangement of the exhibition proceeds by assonances, contrasts, harmonies and disharmonies. The decision not to follow a chronological criterion derives from the desire to respect the here and now which not only presides over the creation of a work of art, but which is the inevitable result of its being history and its destiny. And it is precisely to underline the absolute contemporaneity of each work - especially in an ever-present theme such as that of war - that each of them has been chosen in such a way as to make its deepest and most poetic motivations resonate, through comparison with other works, carriers of different if not opposite sensitivities.

The exhibition project is articulated around three themes: Old and new myths, on ideologies that in the past as today have often been at the basis of conflicts, or on the mythologies that have derived from them; Theaters of war. Borders and borders, which gives artists the rereading of the war images that follow one another before our eyes, where borders divide what is "inside" from what is "outside"; finally Exercises of freedom, more specifically aimed at what art can tell us about our future, not as a projection of a spiteful and conflicting present, but as a space for creativity.