Regarding the themes, the succession of rooms outlines a varied emotional scheme, without a climax or gradual progression, but with different and impactful sensations and themes. Is this a nod to unpredictability and social diversity?

We did not aim for a specific narrative or symbolic thread. We leave evocations to the artworks. The only backbone of the exhibition consists of the 41 architectural drawings, which exhibit a remarkable coherence of style and research, often maintaining intensity and radicalism whether depicting utopian designs or architectural proposals. The layout of the rooms was designed to construct an experiential rhythm that responds differently each time to the stimuli posed by Rossi and Mazzoleni.

Concerning your profession, what does it mean to you to step out of your comfort zone and open up to new horizons? And what do you hope this exhibition will bring for a new cultural scene?

Curating, for me, is inherently tied to research, thanks to continuous engagement with artists and interdisciplinary perspectives on art. I would be pleased if this exhibition contributes to a profound reflection on how imaginations are founded, refounded, and evolve in portraying a complex and layered reality like that of Naples.

In a society where the union of different sectors and fields isn’t always normalised, how did this heterogeneous interaction come about? Are there any taboos or specific concepts that you and Sabato De Sarno, along with the rest of the team, wanted to destigmatise?

This is the first major exhibition fully sponsored by a leading brand at Madre, and in my view, it’s a completely virtuous example of patronage based on shared content and mutual respect for expertise. I believe it can serve as an example to convey an idea of reciprocity between public and private sectors.