Susan Sontang said:  “A capitalist society requires a culture based on images. [...] The last reason for the need to photograph everything is in the very logic of consumption. Consuming means burning, exhausting, and therefore postulates a necessary reintegration. As we make and consume images, we need more images and more. But images are not a treasure to get hold of which one needs to scour the world; they are exactly what we have available wherever our eye rests [...] ".
On these bulimic premises now the world is undergoing, separately, the first global moment of the 21st century. Amidst a pandemic that has brought commerce and culture to a halt, and against the backdrop of renewed mortality, heightened tension, and amorphous suspension, we wonder: what is this suspension?
In this conceptual  frame the VACUUM exhibition hosts the works of different artists: Joseph Beuys (Germany), Stanley Brouwn (Suriname), Gino de Dominicis (Italy), Mario Garcia Torres (Mexico), Erwin Wurm (Austria), Ger van Elk (Nederland), Francesco Matarrese (Italy). Different in attitudes, outcomes and creative approach, their intentions harmonize in a dramaturgy that is intentionally that of disappearance and that establishes new ways of relating and contact with the artwork to tell through absence, expectation and suspension. Telling, letting the imagination linger on every phantom form in which absence becomes a condition of presence and makes the work a container open to the multifaceted vision.
A vision of subtraction, a change of imagination to get out of the dictatorship of the image. The attempt to design a space capable of providing material consistency to the non-material, of giving shape to the invisible, because if it is true that the proliferation of communication, in this pandemic scenario, has undergone an important acceleration in terms of production of images, it is equally true that from here we want to start again, through the absence, the waiting, the suspension.