Working within a process of deconstruction, hybridization and recomposition of the image, artist Will Benedict uses different media - from painting to video, from drawing to photography to the curation of exhibition projects - to reflect on the constitutive elements of representation and on how to interpret and frame it, both visually and conceptually. The compositional and material heterogeneity of his works, often characterized by the coexistence of multiple semiotic levels, creates a sense of committed ambivalence. In particular, his video works depict worlds that subvert both popular entertainment codes and avant-garde conventions embedded in music videos, fashion publications, YouTube tutorials, magazines, advertising, television and movies .

The title of the exhibition, Idéal Pain (which literally means 'Ideal Bread' in French, but also 'Ideal Pain' in English), plays on the inverted order of the words and the double meaning between the two languages spoken by the artist, born in in the United States but lives and works in Paris. His is a reference to the "gig economy", precarious working conditions, hit and run labor organizations and the food industry as an indicator of inequality, consumerism, waste and scarcity.

As the artist puts it: "I'm interested in putting together the things I find with the things I create. I can create worlds with blurry boundaries where we're not sure what exactly is going on or who is actually responsible for it all. As I said before. on several occasions, sometimes I feel authorized to reveal the story of an object and sometimes the object envelops you, takes control of your body and you are just a kind of zombie. But in any case I am the one who is responsible. "

By creating a site-specific, immersive and disorienting intervention, Benedetto divides the space into parallel realities, which the visitor enters through a series of doors at the sides of which he exhibits, for the first time in Italy, Degrees of Disgust (2019) and Scimpanzé angry (2022).