Starting July 8 and throughout the month of August, 10 Corso Como Project Room presents the photographic installation VOID by Attilio Solzi curated by Alessio de' Navasques.

As part of 10 Corso Como’s programme, which interprets its spaces as a constantly evolving organism capable of uniting and blending places and languages according to the concept of a flexible theater, the Project Room is transformed for the summer. The space, traditionally dedicated to collections of beauty products, fragrances and rare books, becomes an open, expansive book—an immersive environment where visitors can step into the pages of the latest work by Attilio Solzi, one of the most intriguing figures in contemporary photography.

Large prints on canvas guide visitors into VOID, the photographic installation dedicated to the poetics of emptiness and its movement, understood as an intimate dimension of the artist. The project is part of Tiziana Fausti’s vision, within a series dedicated to artists capable of working with the insubstantial, with fading, blurring and the vibrations of light and shadow: a body of work developed through photographic exhibitions and curatorial projects that now find a new synthesis. A surface that becomes wind, a bubble, a void, in a universal and continuous movement.

Solzi, who has always been attentive to the body and the carnal power of matter, arrives here at a more ethereal dimension. A thin plastic film—a humble, artificial material—is transformed into a medium of metamorphosis: folds, ripples, and waves envelop the figures until their contours dissolve, creating images in which man and nature seem to share the same vibration. Plastic thus loses its function and becomes a membrane, a shared atmosphere, a common skin between the body and the world.

The veil, an ancestral symbol of concealment and revelation, runs through the entire project. As in the rituals of ancient Greece or in the movement of forms evoked by Aby Warburg, veiling and unveiling coincide in the same gesture. The young artists portrayed seem to inhabit this threshold: bodies that become forms, fading images, suspended presences, like chrysalises awaiting their artistic metamorphosis. Solzi seems to be searching for something that precedes the face and the gesture—an essence still in the making.

The void evoked by VOID does not coincide with absence, but with a state of openness, with the silent time that precedes the birth of the work. It is a portrait of the artist in his studio, at the moment when he becomes a void so that the forms of the world may pass through him. The images inhabit precisely that fragile and luminous instant, transforming the Project Room into a space of contemplation and revelation.