Round the Clock is a project which starts off from two complementary and intersecting necessities or the incessant and obsessive extension, always open to questions and doubts of contemporary art and the need to live and coexist with a new humanity consisting of greater sensibility for our habitat and a respect to be recovered for the resources and energies of the planet Earth. In this sense,

Round the Clock represents the attempt to have art and sustainable ecosystems dialogue in a choral exhibition by international artists who, through the energetic and inquiring force of their works, establish itineraries and cross over in their attempts. The art exhibition as it is realized in its current form is circular, including title, work, language and visual impact. In these terms, packaging, assembly and reuse are part of the process investigated by the artist from the intellectual point of view as a base for an organic and progressive reflection. This convergence takes place through the analysis of an itinerary which is based on a strong idea, realized using poor instruments. The work is the final part of a complex procedure, narrated by the evocation of objects that are as silent as they are energetic, powerful and subtle, extended by the estranging amplification of 'gentle thought', i.e. an intellectual and conceptual work expressed with modest means: paper, cardboard, ashes, plastic, plexiglas, iron, stone, steel, glass, water, fabric, earth and light. The media used range from photography to installation, from video to performance, from sculpture to column, totem, for an exhibition that penetrates the emergency of a better liveability, but avoiding the more ordinary display methodologies with a complex, conceived, contemporary, alienating and visibly equally effective chorality. The '24 hours a day' of Round the Clock offer a complete and representative map, as the individual works are a biological machine compressed in a single breath, recovered through a theory of passages inseparably linked to one another, marked by an art that pushes towards the existential condition of reality, succeeding in making the effect and the totality of the whole felt.

The contemporary art always keeps one question open – the one concerning man, his existence and his reserves – and then certainly today the relationship with the territory, the land, the future of the planet and its liveability are contained in this question and are an intrinsic part of it. At times, art itself can contribute to relieving modernity from the burdens that it has imposed on itself, such as beauty, identity, truth and meaning. Conventions have to be rejected and the association world-reality has to be probed by fragments. The work of the artist in Round the Clock is that of investigating the dimension of the social context, the problems of eco-sustainability and of biodiversities and this attitude cannot have the vocation of compromising or settling scores between ideology and truth but, through reflection must aim to overcome the discrepancies between various types of behaviour and give a voice to stifled cries. It is necessary to intensify movement and increase energy with a work that lives on the relations between artist and viewer through a place of welcome that has the purpose of bringing the meanings of the world to the surface.

If in this first part of the millennium, it is contemporary art that is transversally mirrored, caught off-guard by interdisciplinarity and meta-languages which until the end of the last millennium did not come into contact with the objective world; the consequence now is a psychological oscillation which has to make the practice of the present more natural through the connection with a language and a strongly open attitude towards civil living. The contingent urgency of Round the Clock thus also offers a new figurative and conceptual sensibility through a use of materials which come from recycling, the organic and a healthy graft between the natural and the artificial. In the need for a better way of life, precise intentions and energetic gestures germinating from Round the Clock can restore vigour, meaning and a contemporary importance for an art that is more aware and closer to the existence of man and the planet on which he lives. In a natural tendency for entropy, the capacity now lies in reworking the codes in an interpretation of complexity which is revealed in a transversal awareness to regain beauty and slowness in a complex environment of experimentation and suggestions.