The simplicity of the construction method makes these dwellings "light" and somewhat provisional. The limestone slabs, stepped fitted, without mortar or cement, challenge the force of gravity in their tension towards the sky and can be easily dismantled, as used to occur during the Bourbon period, when Spanish collectors, sent by the Kingdom of Naples, would come to collect taxes on properties. At the same time, the heavy quadrangular base with thick walls assigns the Trullo a connotation not only of solidity and safety but also of resistance to the adversities of time and anchoring to the earth. Each one of the exhibited works reflects the suggestion of the oxymoron from which the exhibition takes its title and navigates in a territory that is both suspended and middle ground, hanging in the balance and yet drawing substance from that very territory as a counterweight, and where lightness can overturn into its opposite. The ephemeral world outlined by the shadows pinpointed by Maddalozzo, Pignatelli, and Uncini evokes a plastic composition, transforming a fragile and ambiguous element into something stable and visibly concrete. Similarly, the severe and rigorous forms of Gilioli's steel sculptures play with the multiple reflections of light, while in Catelani's paintings, the instability of color erases the distinction between matter and image. Tomašević's surreal collages and Pizzolante's digital prints open up an inexplicable and metaphysical universe where humans are infinitely small, and memory becomes tangible. Finally, Štětinová's reinterpretation of traditional Bohemian ex-voto shows a discrepancy between the subject's lightness, fluidity, and fragility and the stiff material, linden wood, it is made of.