The exhibition includes work by thirty artists split into seven sections. Each of the works chosen, together with the dialogues that they establish with each other at a distance, trigger unique individual perspectives on issues of interest to both scientific and artistic research. Each of these works is thus configured like a site for the condensation, expansion, discarding or overturning of some of the issues and paradigms of our contemporary world.
 

The exhibition offers two different outlooks: the first is based on the practice of rational knowledge of the reality that surrounds us, mediated by language and by technology; the second concerns the sensitive knowledge of phenomena. The first three rooms, entitled Sign Systems, Synthesis and Molecular Communication, concern processes of linguistic codification, of laboratory practice and of experimental research into elements, which explicitly hark back to the manner of proceeding typical of mathematics, biology and chemistry. In the second part of the exhibition, in the three rooms entitled Swamp, Eclipse and Second Origin, the works urge us to transit through certain space-time realities with a more direct involvement of our bodies. Different territories and landscapes, together with their present and future configurations, are offered to our perception in an attempt to stimulate a sensitive reaction, in parallel with our rational reaction, to different potential ways of “being-in-the-world”. The works on display in this part of the exhibition address the feeling of alienation and “dispensability” in the face of the consequences of the “great acceleration” and excessive advance of technology in the modern world, until they envisage new forms of life thanks to the artists' ability to reverse their gaze and dilate the time of vision.
 

In the dominant vanishing point, the central room beyond the circular space of the Rotunda, entitled Chaosmosis, a group of works represent the point of convergence between these two outlooks and forge a concrete experience of a potential exploration of the reality in which theoretical abstractions and sensitive perceptions converge. 
 

The exhibition rooms host a system of panels consisting of wooden frames covered with neutral canvas devised to define the space in a recursive fashion. This light and regular grid accompanies the view of the exhibition, acquiring the configuration of an abstract and orderly diagram on which the complexity of the images and themes addressed can be organised while simultaneously alluding to the ideal space of a canvas or a photographic frame as fields for infinite potential takes on reality.