Suspended in motion,
with the charge of devotion
to a balance of none,
a support made of little.

In this falling of saints and of giants,
helpless they stand
before days set in silence.

There is no descent that does not come in stages,
doubt is the teacher
no father engages.

And knowing that truth is residing in form,
than error as well
has its own kind of norm.

Closing and striking a supine last note,
what remains is the tying
that cradles and coats.

The rhyme written by Guglielmo Castelli accompanies and guides the imagery of “Sospeso nel moto con addebito di vuoto”.
Within its verses, some of the tension that run through the project already appear: suspension, falling, uncertainty, and the possibility that even error might find its own form.

Inside the church of San Carlo, the work takes shape as an environment crossed by sound, movement, and image.
The space is not conceived as a simple frame, but as a condition that is defined by what moves through.

The scene originates from a large limbo that rises from the floor until it becomes a continuous backdrop: a surface that guides the gaze and accompanies movement. Its form derives from the idea of bodies in free fall. The painted silhouettes appear to have been shaken and pushed downward, as if sliding along the plane of the stage. Above this horizon, moving skies are arranged, inspired by the devices of the Baroque theatre - cloths, wings, and light scenic apparatuses - that suggest depth and transformation without constructing a true perspectival illusion.

Guglielmo Castelli’s painting expands into space and becomes an integral part of the scene. His fragile and suspended figures - bodies, fragments, and allusive presences - seem to emerge from and dissolve into the pictorial field. In this project, the images also recall the Baroque iconographic tradition of the fall of the giants: bodies that plunge, slip, and lose their balance, as if space itself were crossed by a continuous downward movement.

The installation is activated on the opening day through a performative intervention entrusted to a string trio and a chorus of performers. The performers inhabit the space as sonic and physical presences: they appear and withdraw from view, hide among the architectures and images, and emerge like a chorus or a distant echo. The singing moves through the space drawing from the tradition of the madrigal and gradually opens toward more rarefied fragments, eventually touching the horizon of contemporary music - in an ideal passage that extends as far as John Cage.

Beyond this moment of activation, the work continues to live on as a large, walk-through installation. The audience can enter the space, moving among the images and architectural elements of the scene. “Sospeso nel moto con addebito di vuoto” thus takes shape as a spatial composition balanced between image, sound, and movement, where the stage is no longer a place to be observed frontally, but a space to be explored and discovered.