The volume includes an essay by Milovan Farronato, dedicated to the theoretical references that fuel Bosetto’s research and the exploration of the “magnetic field” created by the artist, in which opposites coexist to create a rhythm that defines its “structural lightness”. One of the central elements emphasized by Farronato, and echoed by the other contributors, is the visitor’s participation in the exhibition as an integral component of a “biology of the imagination that transforms the house into a shared body, and the body into a haunted house in a constant state of becoming”.

A conversation with the exhibition’s curator, Fiammetta Griccioli, offers an intimate look at the project conceived for Pirelli HangarBicocca. In a delicate dialogue marked by questions and reflections, the artist provides us with an iconic key for interpretation: the xenophora, a small mollusk that, by building its home with external debris, creates “a harmonious composition of errors, waste, and mistakes”.

Chus Martínez identifies the literary references that nourish Bosetto’s work, emphasizing how her practice is inspired by the idea of a “possessed architecture, capable of maintaining a physical and psychological relationship with the bodies and minds that inhabit it”. Caterina Molteni’s text traces the evolution of Bosetto’s artistic path from its beginnings, in light of the concepts of ritual, artistic performance, and daydreaming. This last concept is also taken up by Giulia Civardi, who, through literary comparisons and critical references, investigates the “psychic renewal” generated by the creations of this multifaceted artist. Marianna Vecellio contributes an in-depth study of the performance installation Tango (II version), while Evelyn Simons reflects on “life generated by ornament” – which, she tells us, is a “materialization of time” – extending her analysis to queer aesthetics and drawing activity as a “generative practice”.