Studio la Linea Verticale inaugurated its headquarters from 12 to 15 May on the occasion of ART CITY Bologna 2022 with the collective Immaterial-Body-Immaterial. Seven artists, Ludovico Bomben - Alberto Colliva - Vale Palmi - Armenia Panfolklorica-Quatriéme Paysage - Flavia Tritto - Claudio Valerio, in dialogue with the critical texts of Tatiana Basso, Antongiulio Vergine and Maria Chiara Wang. The title is a diagram in which, as if on a horizon line, the 7 artists are displayed, like guardians of the secrets of the Universal Law. The diagram reveals an order that from the Immaterial takes Body at the center and then dissolves back into the Immaterial, so that the line is curved to the point of becoming an imaginative circle. The artists selected to inaugurate the gallery's study method, based on the Vertical Line, could only be 7 - number of completeness and spiritual research. The forerunner, the original inhabitant of the Immaterial, is Claudio Valerio who, like a demiurge with a brush or a midwife of the image, tries to embody the abstract in a creatio ex nihilo. The young artist formally introduces us to his archetypal family who, petrified, look at our portrait facing the square window of the canvas. It continues with the black mirror from Flavia Tritto which enunciates - through the word white on black and with a perennial interchange of letters - the possibilities of being, granted and denied, to each of us by life itself. It is a digital mirror that does not reflect our body but reflects our very personal feeling - or not feeling - exist. With the small egg of Ludovico Bomben, whose symbolic promise of life in potential is violently disillusioned by a blow that pierces it, one gets closer and closer to the materiality of the body. The shining shell mirrors our deformed face, questioning us about our own potential as human beings. This body, however, remains only a power, a tension that is not realized, because with the next artist, Alberto Colliva, we are already beyond, projected towards another immateriality. His series of faces with a honey complexion but bitterly undone, the terror of the body that decomposes and returns to the earth insinuates in our chest, in addition to the surprise of seeing how it becomes the landscape we inhabit, the rocky wall we climb, reminding us that our foundations rest on the remains of our ancestors. Here, with the blood vessels on the edge of the skin, we meet the work of Armenia Panfolklorica, photographic remembrance of a mythical and mimetic performance among the plastinated bodies of Gunther von Hagens. The artist evolves his own body through a renewed loving connection with the male part, so as to recreate the ancient and arrogant androgynous body, the revelation of our divine essence. On the way back to the immaterial, the duo Quatrième Paysage it is identified with a photographic diptych where two figures are present. Two pharaonic bodies that, having abandoned all heaviness of the flesh, are dressed in a dense silk net embroidered with binary information and dematerialized in the digital universe, becoming its king and queen. The circle closes with Vale Palmi, which with a transfer of vermilion energy from her soul to the swirling blood pencil and paper, makes visible the invisible decomposition that unites each of us after the last hour. The man turned towards immateriality, is ready to rejoin the archetypal family and he too can look at our portrait through the square canvas. Where do we come from? Who we are? Where do we go? The diagram answers humanity's three questions precisely: Immaterial-Body-Immaterial.