The exhibition enacted the principle of mobilisation and mirrored the notion of embodied knowledge developed with the curatorial approach of the symposium by hosting two interdisciplinary artworks that offered scores and experiences. Coherently with the thematic frame, it became a living process in development. This time-based nature required a change in the planned timeframe: the seven-day arc was functional to traditional engagement for visitors passing by, while the consistent engagement and needed facilitation from the involved artists implied a more punctual intervention: shorter in time but deeper in engagement and qualitative exchange. Moreover, the shortening of the exhibition corresponded to an extension of the symposium duration to align their timing and have both simultaneously for people to attend each format, cross-pollinate one another, and enhance mutual learning. This new exhibition format allowed for more qualitative participation, not only in terms of the time spent and the contributions given by each visitor but also by providing collective experiences and spaces for encounters that are rarely welcomed by traditional exhibitions, which mostly offer curated paths or guided tours and regulated spaces for art products.

The exhibition challenged the object-based approach and related to the theme of mobilisation by engaging visitors directly, whose participation was the main trigger for the artwork activation. People were not invited to see but to act, sweeping away the illusion of art as a permanent and closed product, and instead re-centering the living experience as a fundamental value in a fast-changing world—multiple, nuanced, and complex, and often ungraspable with traditional tools. The curation offered a context where content was generated by people’s contributions, opening an organic process where spaces and artworks changed daily thanks to the use, contributions, and exchanges with people who could add or take away elements to the artistic works.