Following the success of the exhibition held at the end of the last season, we are now hosting its successor - In Between II.
The exhibition brings something new, while maintaining the format of a group exhibition and the temporal concept of serving as a "bridge" between the end of the previous season, and the beginning of the new season in September.

It is almost inevitable, when we become excited about a former successful project, that this enthusiasm leads us to make an extra commitment to ensuing projects. This is highlighted by the exhibition’s subtitle: "fascinum". This word has a Latin root, meaning fascination and enchantment, but it's much more than that. In ancient Rome, people were extremely fond of superstitions and omens, and venerated a panoply of gods and projected them, terrestrially, onto a wide array of different forms and supports.
One of the oldest of these gods, dating back to the first kings of Rome, before the republic or the emperors, was the fascinus. It was a protective god, a herald of favourable omens and power. The usual forms of representing this god were winged phallic amulets, made of bronze or even gold, the oldest of which were passed down from parents to their children when they came of age, from one generation to the next. The most valuable and ancient fascinuns were coveted for their divine power. It is said that the exotic and bloodthirsty young emperor Commodus, the son of Marcus Aurelius, seized the amulet from a descendant of one of Rome’s oldest patrician families and wore it for years, which afforded him protection from various assassination attempts and even from the plague that ravaged Rome (a city pretentiously labelled "Commodian" during his reign). Even so, he was eventually murdered by his own mistress, Marcia, when he drank from a poisoned glass of wine in the pool of the baths of his Roman villa; after his death, the patrician family recovered their valuable amulet, and then continued to pass it down from one generation to the next.

Among the many artists participating in this second edition of In Between, there are some whose works have been specially chosen to dialogue with iconic ancestral objects, in an exercise of possible formal contaminations between subjects. These new "subjects", this time concomitant, are the keys to a process that empirically defines the possible metaphors underlying the exhibition's subtitle (fascinum), contributing to and adding to the whole. We thereby experience a stimulating potential that extends to the establishment of new bridges, meshes and interpretations for a greater temporality, through the added presence of these new protagonists.

The principal aim of the two editions of In-Between is the unique availability of making small steps towards achieving an understanding and possible "fascination" with collectible items and the good will associated to their transmission.