An exchange between original and reproduction, but also between container and content. If each matrix generates a similar but never identical copy, every container also contains, protects, shows always something. These elements do not appear so far: a cast is just a negative form that will receive material inside and will generate a positive form, a unique relationship between subject and object; so in the same way a display can accommodate an object inside it. Deciding to not following this coherent narrative ways, the times are mixed together creating new defunctionalized forms and the dictatorships of meaning fall. Exchanging the roles, also the original meanings lose their value: an empty container will no longer considered the same but a real sculpture, a mold if defunctionalized of its work, could be considered a real sculpture, a displaycase that contains nothing will show only itself.  The exhibition space, called BUIA 1:31, opens with installations of indefinite shapes. Every element showed is randomly poured on the floor. They are displays, containers, supports, structures, matrices, casts, molds, concave elements that contain other empty elements. In a random order among a “before”, “during” and “after” as an altered time of causeeffect, the works are placed in a rhythmic limbo of possibilities; placed on the same level of vision, they perfect each other affirming themselves as “open works” but completed and finished as well. Every single element meditates on the infinite potential of container-objects that stand as absolute works, between a micro and a macro universe, between a globalized but fragmented vision at the same time. Each object is looking for its own double to complete itself. The single element resonates strong but coupled by its own mould can express itself even better. An inside and an outside, an exchange between subject and object (of desire) that melting each other echoing like a constant presences in this spatial paradox. The emptiness of this objects-works is investigated as a material category and also as a personal experience hovering among past, present and future, full of relationships like a complex and articulated network, not superficial. We are not looking at just a random accumulation of rubble, history or stuff. We are in the presence of a not accidental chaos, which transports us through a constant and rhythmatic visual loop, without beginning or end, as if everything orbit always to zero degree. The emptiness is our full space, each fragment is part of a total vision of things and hosts as many stories as the observers who are watching them. The spectator goal is to recreate their own vision through the voids of this elements. Thanks to these paradoxes, dichotomies, the absences and original divisions, the consequent fusions and representation in a new form; into our eyes a great and magical perform come true, at tis point the unique void turns in to collectivity.

An exchange between original and reproduction, but also between container and content. If each matrix generates a similar but never identical copy, every container also contains, protects, shows always something. These elements do not appear so far: a cast is just a negative form that will receive material inside and will generate a positive form, a unique relationship between subject and object; so in the same way a display can accommodate an object inside it. Deciding to not following this coherent narrative ways, the times are mixed together creating new defunctionalized forms and the dictatorships of meaning fall. Exchanging the roles, also the original meanings lose their value: an empty container will no longer considered the same but a real sculpture, a mold if defunctionalized of its work, could be considered a real sculpture, a displaycase that contains nothing will show only itself.  The exhibition space, called BUIA 1:31, opens with installations of indefinite shapes. Every element showed is randomly poured on the floor. They are displays, containers, supports, structures, matrices, casts, molds, concave elements that contain other empty elements. In a random order among a “before”, “during” and “after” as an altered time of causeeffect, the works are placed in a rhythmic limbo of possibilities; placed on the same level of vision, they perfect each other affirming themselves as “open works” but completed and finished as well. Every single element meditates on the infinite potential of container-objects that stand as absolute works, between a micro and a macro universe, between a globalized but fragmented vision at the same time. Each object is looking for its own double to complete itself. The single element resonates strong but coupled by its own mould can express itself even better. An inside and an outside, an exchange between subject and object (of desire) that melting each other echoing like a constant presences in this spatial paradox. The emptiness of this objects-works is investigated as a material category and also as a personal experience hovering among past, present and future, full of relationships like a complex and articulated network, not superficial. We are not looking at just a random accumulation of rubble, history or stuff. We are in the presence of a not accidental chaos, which transports us through a constant and rhythmatic visual loop, without beginning or end, as if everything orbit always to zero degree. The emptiness is our full space, each fragment is part of a total vision of things and hosts as many stories as the observers who are watching them. The spectator goal is to recreate their own vision through the voids of this elements. Thanks to these paradoxes, dichotomies, the absences and original divisions, the consequent fusions and representation in a new form; into our eyes a great and magical perform come true, at tis point the unique void turns in to collectivity.