The exhibition takes its form from an everyday object from the Candy production district, in which memory becomes tangible in the display: an industrial shelf developed and perfected over the years to transport the various components of the appliance, which has now become a standard system, a silent infrastructure spread across hundreds of examples, laden with traces of use and time, an extremely authentic object.

Our intervention stems from the observation of this container object not only as a functional element, but also as a symbol: a simple yet complex support that for years has marked the work rhythms of workers and technicians within the factory.

At a time when artificial intelligence allows us to produce infinite images from a simple prompt, I felt the need to try a different approach. Not as an alternative, but as an experiment, a way to explore other possibilities and question the very process of image construction: the value lies not only in the output, but in the transition, in shared authorship, in the collective effort that transforms archival material into contemporary imagination. This tension between the real and the possible reflects the same logic as industrial archives, full of prototypes that were never made, sketches, and drawings of Possible Machines.

“The exhibition is presented as a single installation in which Balsamini's photographic imagery is supported by the permanence of industrial and labour history. The boundary between the real and the plausible, between chronicle and lyric, seems to slowly give way. Because the point of arrival is a memory expanded to previously unexplored possibilities, a permeable memory in which the history of design can be modified and given the opportunity for a new ending.”

Andrea Tinterri, curator of the exhibition