DESIRED SINCE FOREVER A week dedicated to Valerio Mieli.

Unpublished stories, photographs, materials prepared for his films, videos, music. An investigation into the creative process as well as a review of the objects produced. It opens Friday 22nd with a night-time walk around the space with the writer Eleonora Marangoni: she will chat about images and literature, solitude and feelings and the desire for elsewhere.

We invite you to the presentation of Nicolás Jaar’s new book: Islands on March 18th.

Beneath the ocean lies another ocean, dormant, and the islands narrated by Nicolas Jaar are the dreams that emerge from its buried depths, told with a musical language that is simultaneously deeply visual.

Images crystallized in the impossible time of fables, revelations, hallucinations, myth; worlds where nothing is ever what it seems, and everything unfolds in an underground plot resonating with meaning, like a dream one struggles to remember: wells murmur in the language of God, ecstasy nestles between the planks of a wooden floor, skin becomes the paper to entrust one’s messages to, and from the amplifiers – the most precious weapon against the atrocities of oppressors – simulated shots and resistance songs resound.

A successful musician and producer turned debut author, Nicolás Jaar creates a shifting mosaic where images flow and return like loops, overlap like samples, reverberate like echoes in a minimal and prismatic plot whose fragments vanish and reemerge transfigured. Thus, the fairy tale gives way to revelation; historical account to poetry; prayer to theatrical piece.

Exploring these islands means diving into an abyss of symbols that seem inexhaustible, elusive fragments of meaning that leave a deep mark in our memory, like the reflections of Recimo’s magic mirrors, whose tranquil distortions infect minds with a mysterious calm resembling a spell or a curse.

Nicolás Jaar (1990) is considered by international critics as one of the most important electronic music producers. Born in New York and raised in Chile, he gained international fame in 2011 with his debut album Space Is Only Noise. He has since released five more albums under his name, including Sirens (2016) and Cenizas (2020). He founded the experimental music label Other People, featuring artists such as Lydia Lunch and Pierre Bastien. He is the composer of the soundtracks for Jacques Audiard’s Dheepan (Palme d’Or winner in 2015) and Déa Kulumbegashvili’s Beginning (2019). In recent years, Nicolás has focused primarily on teaching, conducting sound editing courses and listening workshops for emerging and novice musicians at various institutions and events, including the Museo de la Memoria (Santiago, Chile), AdBK (Munich, Germany), free.wav (Attappadi, India), Festival 4×4 (Chiapas, Mexico), and Dar Jacir and Alrowwad (Bethlehem, Palestine).

The Mediterranean Sea is a millennia-old witness of migrations and cultural exchanges, among which dozens of musical traditions have flourished over the centuries, intertwining in a continuous exchange of languages and sounds.

The Supernova space, overlooking a square ideally situated at the center of the Mediterranean basin, will host Santa Mediterranea, a series of three-day musical residencies. From March to May, Santa Mediterranea will bring together in Trastevere artists who have dedicated a significant part of their musical research to exploring the diverse sounds and musical suggestions of the Mediterranean.

The first residents are the members of Malhuma, a string quartet dedicated to composing and performing original instrumental music, significantly influenced by the sounds and instruments typical of Mediterranean culture. The creative process of the group is deeply influenced by their connection with the places that inspire their music. Their debut album, Terra Murata, was recorded live in the deconsecrated church of Santa Margherita Nuova on the island of Procida, near the Gulf of Naples. The genesis and recording of the album became the subject of a documentary of the same name, that shows the studio work phases and fascinating scenes of the island that inspired their music.

Malhuma is currently working on composing the music that will be part of their second album. Some of these pieces will be written and presented to the public for the first time during their residency in the spaces of Supernova.

The Members of Malhuma are:

Marcello Smigliante Gentile • mandolin, mandocello

Alessandro Butera • manouche guitar, mohan veena

Gianluca Trinchillo • classical guitar

Bruno Belardi • double bass

Program:

Friday, March 15th, 11:00 AM: Start of the residency, opening of Supernova spaces.

Saturday, March 16th, 6:00 PM: Conversation with the artists and open rehearsals with live musical accompaniment of fragments from the documentary Terra Murata.

Sunday, March 17th, 4:00 PM: Final Concert.

We invite you to the presentation Brian Evenson’s new book: “The Last Days.”

After the amputation of his hand, Kline, an undercover agent, lives a solitary existence, spending his time in his apartment, resistant to any kind of contact. One day, however, the phone rings. “It’s fortune knocking,” say two strangers, offering an interesting job opportunity. Kline wants nothing to do with it, but his interlocutors are not really asking. He is reluctantly taken to the headquarters of the Mutilation Brotherhood and enters the alternate world constructed by this cult, fanatically loyal to its principles. Kline must investigate a murder that occurred within the Brotherhood, but every apparent truth is a fragment of a larger, incomprehensible work, much like his truncated arm that ends in a phantom hand, nonexistent yet vividly alive for him. As he tries to navigate a maze of lies, threats, and deceit, Kline discovers that his own survival will depend on an act of pure will and emancipation.

In his admired afterword, Peter Straub considers Brian Evenson an extreme writer. “The Last Days” is an intense and disturbing novel that fearlessly looks into the abyss of the human heart.

Biography:

Brian Evenson (Ames, Iowa, 1966) is a writer, translator, critic, and university professor. His works have earned him numerous awards, including the O. Henry Award for short fiction, three Shirley Jackson Awards, and the International Horror Guild Award. According to George Saunders, “there is no more intense, prolific, and apocalyptic fiction writer in America.”

The Family

On the 29th of February Sara Mesa will present her new book The Family.

Sara depicts a clear x-ray of a family with its latent wounds, fragilities, contradictions, and weaknesses.

Biography

Born in Madrid in 1976, Sara Mesa is an award-winning Spanish author of short stories and novels. She has published “Cuatro por cuatro,” a finalist for the Herralde Prize, “Cicatrice” (Bompiani, 2017), awarded the El Ojo Crítico de Narrativa prize, and recognized among the books of the year by El País, El Mundo, ABC, El Español. Her works also include “Un incendio invisible,” “Cara de pan,” the collection of stories “Mala letra,” and the novella “Silencio administrativo.”

Her latest novel, “Un amore,” was a finalist for the Strega European Prize and has been translated into numerous languages.

We invite you to the literary event on February 15th at 6:30 PM.

Libertarians: the submerged voices of women in literature

This event stems from the desire of the publishing house Rina to share the work of rediscovering and recovering the figures and texts of Italian women writers, sparking a cultural debate that, in a transversal manner, can involve publishing realities, magazines, female and male writers, university professors. The goal is to reflect together and delve into the research activities engaged by publishing and academia to bring to light a true “submerged galaxy” of female authors.

The discussion will feature Michela Dentamaro, editor of Rina, Andrea Crisantis De Ascentiis, editor of Ago, Paolo Guazzo, editor of Cliquot, Professor of Italian Literature Laura Fortini from Roma Tre, Professor of Italian Literature and Gender Studies Annalisa Perrotta from Sapienza, Professor of Modern and Contemporary Literature Monica Storini from Sapienza, Manuela Altruda, editor of Letterate Magazine, Loreta Minutilli, editor of Il Rifugio dell’Ircocervo, Alice Girotto, from the collective Le Ortique. The discussion will be moderated by the writers’ collective Montag.

Following the discussion, there will be readings from the pages of these submerged writers by writers Emanuela Anechoum, Giulia Caminito, Claudia Durastanti, Ilaria Gaspari, Paola Moretti, and Anna Voltaggio, as well as writers Luciano Funetta, Giorgio Ghiotti, Valerio Millefoglie, and Carlo Sperduti.

On the 14th of February at 6pm we invite you to the inauguration of Daniele di Girolamo’s solo exhibition A measure of a Distance, curated by Niccolò Giacomazzi.

A measure of distance by Daniele Di Girolamo unfolds in two evolving environments divided into the levels of Supernova, exploring relational dynamics according to a dual awareness: relating to the other and listening to the inner flows of one’s own knowledge. These are the chords that Daniele intends to touch.

On the ground floor, the exhibition presents the installation of three pairs of thistles dancing in space, drawing orbits through the unraveling of brass tubes. Electrical wires run inside the artificial stems that, like plant sap, allow the hermaphrodite flower to rotate on itself and seek possible contact. By observing the behavior of a plant placed inside a dark environment with only one source of light, we will notice how it will find its way to the light source. Similar to phototropism, thistle caulis find a meeting place at the end of their spatial explorations, where reaching for light is replaced by the necessary act of meeting. The rotations show us the mutability of relationships, which can sometimes result in not finding each other while at others they express the contingencies of coming together in embrace and inevitable release.

The warm breath and pulse of rapprochement are recalled by the rubbing of sharp thorns and interrupted by the frustration of their ignoring each other. The whole relational process made up of approaches, rejections and wrong circumstances, as Daniel himself describes, manifests as “sweet, violent, funny, romantic, melancholic, erotic and raw.” In the moment of maximum tension, the perception of a bond is as possible as that of a contrast. The path of the stems concretizes the past prior to the encounter, the result of a motion with defined structures. At this moment, the encounter takes its course and speaks of the present: the bodily sensations and emotional resonances of each individual act on his or her own passionate state. One enters into a more introverted and intimate reflection, which reaches the peak of intensity with the lower floor installation.

In the underground space, three sculptures worked with a plastic material that recall the shape of crumpled cylinders are shown. Inside them is sea sand that, subjected to a rotating motion, recreates the sound of the undertow. From the natural element, taken from its context of origin, a sound memory is extracted that continues to remind us of the place from which it came. In this dimension, the relationship with the other fades into a more individual and direct relationship with oneself. Time slows down, listening increases: one leaves the mind free to descend into the depths and take the measure of the distance that unites or separates oneself from others.

We invite you on February 1st at 7 pm to The Mute: a circle of feminist self-awareness. Colettivo Montag engages in dialogue with Le Sentinelle.

“Women will form self-awareness groups and say, ‘Finally, a bit of free therapy’”. Le Sentinelle will tell you what it means to engage in a self-awareness group in 2023, peeking into the spiritual, cultural, and political experiences of feminists in the 1970s. In this event, we will take you inside a self-awareness session, weaving together stories and unraveling, starting from the practice of reading, narratives with each other.

Le Sentinelle is a feminist self-awareness group born in Rome in 2023. They meet twice a month, read feminist theory and practice texts together, and then discuss them for hours, intertwining their personal lives with the voices they discover in books. Meeting after meeting, they try to build a space for reflection, sharing, and, above all, mutual care: if one is in the dark, the other acts as a sentinel for her step; she lights a fire for her.”

We invite you to the film screening of Heliconia by Paula Rodriguez on the 25th of January at 6:30 pm.

Heliconia, Paula Rodríguez Polanco, Colombia/France, 2020, 27’

SYNOPSIS

Heliconia is the portrait of three young people in search of an earthly paradise. It is the story of their journey, their desire for freedom and their emotional ties through the multifaceted landscape of the tropics.

BIO

Paula Rodríguez Polanco (Bogotá, 1994) is a filmmaker, researcher and curator. She studied philosophy, art history and cinema in Paris, where she has lived for the past ten years. She directed the short films Camposanto in 2019 (Festival Tous Courts) and Heliconia in 2020 (FID Marseille, IndieLisboa, Jihlava, Mar del Plata IFF, Documenta Madrid, Beldocs…).

Her films are closely linked to her research work, in which she questions the materiality of celluloid film in contemporary practices and the image’s relationship with history and individual and collective memory. She is currently preparing a PhD thesis on Super 8 and 16mm practices in contemporary cinema, and is writing her first feature film Malpaís, produced by mutokino (Colombia) and L’Heure d’été (France).

AWARDS

Special Mention First Film Prize – FIDMarseille 2020
Special Mention Altered States Competition – Mar del Plata IFF
Special Mention Best Short – FICCALI
Best International Short Film – Lima Alterna
Best Character – Festival Laberinto

FESTIVALS

FIDMarseille, FICValdivia, Jihlava IFF, Festival Cámara Lúcida, Zinebi, Amiens FIFAM, Mar del Plata IFF, Documenta Madrid, IndieLisboa, Shorts Mexico, Beldocs, Festival internacional de cine de Cali FICCALI, Las Palmas IFF, Festival Obskura, Festival internacional de cine de la isla de Chiloé, Panorama du cinéma, Colombien à Paris, Daimon Muestra de Cine, Dresden Filmfest, Leiden Shorts, Festival de Cine Independiente Laberinto, Cinemancia Festival Metropolitano de Cine, Lima Alterna, Dhaka IFF and Panorama of the European Film in Cairo

SPACE HOUSE by Valerio D’angelo opens a gateway onto the square of Santa Maria in Trastevere and transports us into another reality. As suggested by the title, the exhibition is inexorably linked to the concept of space, understood both in its astronomical and architectural sense due to its site-specific nature, and delves into insights from quantum physics. To understand this union simplistically, imagine standing in front of an automatic dispenser of special and unpredictable balls. Pulling some out, each behaves differently from what one might expect: one might bounce in front of us while moving horizontally, another might take on different forms when observed and when not, and so on. This happens in quantum physics with the study of particles, and in Valerio D’Angelo’s practice with the reflections generated in the dichroic mirrors of his installations.

Access to the exhibition is allowed through a portal that places the viewer at the center of a new dimension. As one passes through, space vibrates, alters, and reflects distorted images, proving that we are one possibility among infinite possibilities. The installation becomes an intermediary place for the multiplication of forms and colors, of truth. Crossing the threshold, one enters Supernova’s spaces where  a cold light reveals structures, sometimes colossal, sometimes intangible, revieling elements that appear as boarding gates to other galaxies. The dichroic film, D’Angelo’s preferred material, first appears as a fluid entity and then as an organism that takes on different forms depending on the support it inhabits, be it a column, a Venetian piece of furniture, or a projector. The succession of portal works deprives our universe, and thus us humans, of the centrality we enjoy, instead directing attention towards the unknown, beyond the boundaries of perception. Our image undergoes a doubling, it fragments into displaced worlds in which various existences become possible and probable.

In the last chapter of the exhibition, an image appears that seems to be observed under a microscope: it is the synthesis of Boltzmann’s brain theory. Through the study of lenses and lights, the projection of a micro-fragment of reality is revealed, a transposition of the fluctuating brain that generates what we perceive as real. In this case, the theory itself is reversed; it is no longer the creator shaping and projecting, but rather we are observing its projection in a slow and hypnotic movement. Everything is questioned, us and the entire universe. Even if only for a second.

Statement by Valerio D’Angelo:

“My artistic research focuses on the element of reflection, initially understood as a narcissistic gesture that allows isolating and enhancing one’s own image and opening up new forms of self-perception. Deepening this investigation, the second dimension accessed through reflection has gained increasing importance, coming to be perceived as another, displaced and equally present reality. This thought has taken on disturbing nuances, sowing in my consciousness the sensation that the reflected image was not only the result of our optical mechanism but a reality that observes us in return. We are the fragment, the doppelgänger of other realities.

Reflections on parallel dimensions and meeting portals capable of questioning the centrality of our existence, led me to approach quantum physics. I have been inspired by the idea that our reality is very improbable and possible only because all other possible realities are such: we are an improbable possibility of infinite possibilities. Banally, but also not, it is what is dealt with in the animated series Rick and Morty.

Certainly, in the cosmos of all infinite dimensions, we are not at the center. The other realities are certainly not projections of ours, but – more likely – we are a small nuance of much more probable realities. Whilst conteplating my own reflection, I’d like to think that I myself, could be the result of a reflection. I become a fragment of a possible reality, no longer at the center of the universe. Mirrors are conceived as gates of communication between different realities, where, more than scrutinizing a new one, we realize that we are one in turn, perhaps observed for a moment. The lexicon of my installations aligns with the cinematic and science fiction imagery of the 80s-90s and takes inspiration from post-apocalyptic dystopian narrative, where everything is overturned, and the linearity of our existence is broken.

Probabilistic physics makes us aware of absurd truths that we almost treat as a game. I want to take the probabilities of quantum physics, transfer the awareness, and bring back the experience.”

Montag has been working for three years on simultaneous writing, a composition technique based on the real-time sharing of an editable file, upon which the three authors act simultaneously. Simultaneous writing means giving up the jealousy of words, the private ownership of the text, and control over its evolutions. Each writer can change anything the others have done without needing permission. In this performance, Montag will expose his writing process, which will be projected onto the walls of Supernova, and anyone can see it as it unfolds. By the end of the evening, a complete story will be ready, born before your eyes, to explore what it means to write together and let go. The music of Bruno Belardi, Denise Di Maria, and Vittorio Gatti will accompany and, in turn, inspire the writing, with the same spirit of improvisation and free creation. Simultaneous writing is an open dream.

To read the result of the simultaneous performance click the link down below:

Supernova in collaboration with the American Academy has invited the renowned world chef Elena Reygadas to bring her Mexican cuisine to the Santa Maria Square in Trastevere. In an effort to celebrate the local community and bring everyone together at the same table to experience traditional Mexican food.

Elena Reygadas was named the best female chef in the world in 2023. Her cuisine is based on the respect for Mexican ingredients from small producers, and she owns and manages her main restaurant in Mexico City, Rosetta.

Supernova, in collaboration with the initiative of the Community of Sant’Egidio, invites you to “Ri-giocattolo” (Re-toy).

“Ri-giocattolo” is a second-hand toy market organized by the Schools of Peace of the Community of Sant’Egidio. This event takes place in many Italian and European cities in the month of December. It involves the sale of used toys with the goal of raising funds to support aid programs in Africa, such as the DREAM program against AIDS.

The event has a dual purpose: giving a new life to used toys, avoiding waste and pollution, and at the same time, helping children in Africa.

On Friday, December 1st, 2023, the solo exhibition “Purely Imaginable” by the duo Mozzarella Light, composed of Giulia Ciappi and Marco Frassinelli, curated by Niccolò Giacomazzi, will open at the Supernova space.

The intervention by Mozzarella Light consists of a visual manipulation of the external world using light, a ubiquitous yet immaterial medium. Through light, a direct relationship is established with the space, which is respected in its otherness with an innocent attitude. The light rays invade the entire environment, fragmenting the linear beam of light upon contact with the intermediary presence, in this case, plastic and water.

The exhibition will be open until the 15th of December.

Monday through Friday from 6pm to 8pm.

Supernova opens its first night of cineclub with a selection curated and presented by Damien Chazelle that explores the cornerstone of cinema, starting from the Lumière brothers and arriving to Chris Marker’s photo-roman.

FILM LINEUP:

La Sortie de l’usine Lumière à Lyon

Le Débarquement du congrès de photographie à Lyon

La Voltige

La Pêche aux poissons rouges

Les Forgerons

Repas de bébé

Le Saut à la couverture

Place des Cordeliers à Lyon

La Mer

L’arrivée d’un train en gare de La Ciotat

Life of an American Fireman 

The Great Train Robbery

Ballet mécanique

All My Life

La Jetée

Damien Sayre Chazelle is an American film director, screen-writer and producer. He is known for directing the films Whiplash (2014), La La Land (2016), First Man (2018) and Babylon (2022).

For Whiplash, he was nominated for the Academy Award for Best Adapted Screenplay. His biggest success came with La La Land, which was nominated for 14 Academy Awards, winning six including Best Director, making him the youngest person to win the award at age 32.

Coloriamo la Piazza is a kids workshop of three days organised by Alice Casana.

During each of these days, a group of 10 children aged 5 to 10 were invited to explore watercolor techniques. With this workshop, we played with pigments and water, discovering the wonderful effects that can be created on paper. We worked on a larger scale with professional materials so that the children could discover all their potential.

Each child chose a fresh flower from those we provided. We give them a vase and invited them to observe it thoroughly, perhaps like they have never done before. Together, we obeserved the shades of color, its shapes, its peculiarities, and even its imperfections so that they could paint not a generic flower but the specific one they had chosen. In this way the children discovered that by observing and painting it, they would have been able to enter into symbiosis with that flower!

We ensured that the drawing conveyed these emotions, hoping to bring out the little artist in each of them. At the end of the workshop all the children who participated in the workshop were invited to place their drawings in a huge bouquet that colored the Piazza of Santa Maria in Trastevere, and we adults toasted to their masterpiece!

Alice Casana was born and raised in Milan, after wandering a bit, she settled in Rome because she considers it the most beautiful city in the world. Trastevere is the neighborhood where, for about ten years, she has chosen to live and work.

She spent her childhood under the large tables of illustrators who, to keep her quiet, handed her brushes and colored pencils. Since then, she has never stopped painting. She enjoys alternating between large mural paintings, fabric painting, and creating worlds made of splashes of color on paper.

Currently, she is writing and illustrating a children’s story set between Trastevere and a mysterious planet.

During the first literary evening at the Supernova space, the Montag collective presented Marvin magazine with its latest issue, in dialogue with Martina Piromani and Flavio Natale. Following this, there were readings of some of the stories.

Marvin is a literary project born from an occasional editorial team that periodically creates an illustrated story magazine. The stories are selected through a call consisting of three elements: a character, a place, and a phrase. For the seventh issue, fate chose a speleologist, a love hotel, and a small death. Once the stories are chosen, authors come together to bring life to a collaborative editing workshop coordinated by the editorial team.

Montag is a literary collective active between Rome and Turin. It was born during the pandemic with the idea of writing a novel with six hands, utilizing simultaneous remote writing that leverages digital platforms and draws inspiration from jazz improvisation. Montag’s stories have appeared in ‘Marvin,’ ‘retabloid,’ ‘Neutopia,’ ‘Quaerere,’ ‘Salmace,’ and ‘poetarum Silva.’ For ‘Marvin,’ they have also published an essay on collective writing, and for ‘L’indiscreto,’ they curated the first Italian translation of the Dark Mountain Project manifesto. They wrote the Libretto for Amber Mold, a musical composition by Luca Guidarini. Montag is represented by ‘Oblique Studio.’

Benki, founder of the Yorenka Tasorentsi Institute, is a leader of the Ashaninka people working for nature conservation and the protection of indigenous peoples’ rights, cultures, and lands.

The Ashaninka, a millennia-old community and ancestors of the Incas, reside in the states of Acre in Brazil and Peru. With a population of approximately 100,000, they are one of South America’s largest indigenous communities that have maintained their autonomy and traditions.

Born in 1974, Benki is the son of an Ashaninka village chief and a Brazilian mother of white descent. He was designated as one of the “pajés” (those who transmit ancestral knowledge) of the Ashaninka and from a young age, he began advocating for the protection of their lands and the Amazon Rainforest.

Benki is a catalyst for change on cultural, environmental, and political levels. As a cultural and environmental activist and a pacifist spiritual leader from the depths of the Amazon, he has been a key figure in unprecedented cultural projects originating from the Amazon Rainforest that extend far beyond the region. His peaceful activism inspires and influences people globally.

The practical results of these projects have been remarkable: the expansion of sustainable environments, reduction in deforestation, decrease in violence, and improvement of social conditions. Benki’s work has earned him global recognition as a tireless advocate for indigenous peoples’ rights and the conservation of their cultures and territories. Among various accolades, in 2004, he received the Brazilian government’s National Human Rights Award, and in 2017, along with his Ashaninka community Apiwtxa, he was honored with the prestigious Equator Prize from the United Nations Development Programme (UNDP) for environmental projects.

Another crucial aspect of Benki’s mission is global awareness. Throughout his years of work, he has become the spokesperson for a generation of Indigenous Peoples concerned about safeguarding the world’s environmental heritage. He travels worldwide, spreading his message, garnering support and allies for nature and human rights defense, forging connections between indigenous peoples and official governments or institutions.

Fabio Mauri is one of the most prominent voices of the Italian avant-garde of the post war period. He lived between Bologna and Milan until 1957, when he moved to Rome. In 1942, he started the magazine II Setaccio [The Sieve] with his friend Pier Paolo Pasolini. He taught Aesthetics of experimentation at the Academy of Fine Arts of L’Aquila for 20 years. He was invited to the Venice Biennale in 1954, 1974, 1978, 1993, 2003, 2013 and 2015, and to DOCUMENTA (13) in Kassel in 2012.

Several important themes can be found in Mauri’s work, all shaped into his works of art: the Screen, the Prototypes, the Projections, the Photography as Painting, the substantial Identity of Expressive Structures, the lasting relationship between Thought and World and between Thought as World. Mauri’s work, as complex as an history essay, becomes his autobiography, compact and uniform in its development and multifaceted in the attention to the contemporary world: an analysis where the fate of the individual and history co-exist.

OPERA IN CANTIERE “SENZA” 1975

In the actions of “Senza” a series of intellectual works, organisms, complex drawings, such as films, are exhibited. Projected on the ‘world’ as on a “screen”, neither neutral nor equal, endowed with form and signification and, that is, with its own symbol. The contemporary debate is moral, political and ideological.

In the screenings of “Senza”, through films by “author”, (not surprisingly, often, European), essential cuts of modern culture are identified. Projected, as if introjected, on objects and bodies. Art scrutinizes the historical category of its time. The intellectual product operates as a protagonist: it possesses strength and specific, ‘physical’ weight, in the order of the foundation of the plot, that is, of its symbolic constituent. It does, because it is, history and world.