Inspired by the unique characteristics of the exhibition space, a former basilica dedicated to Saint Apollonia, which is connected to the adjacent Belli Theater, the artist creates a fictional path that encompasses personal and collective memories, materiality, and suggestions, opening inaccessible gaps among the cracks of everyday life.

Having long been engaged in research in the painting field, for this occasion Mandolini uses multimedia installation, audio and video, to explore her relationship with the space, moving delicately (so to speak) through the interstices, niches, and folds: dancing, pushing, hiding so as not to be found.

This is exemplified in Saltimbanchi, where the dance of lovers is staged, more akin to pogo dancing than courtship, or in Muovendomi, stando ferma., the work that gives the title to the entire exhibition, where two female feet forcefully push the doors of a wardrobe in an attempt to conceal something not meant to be seen.

This secretive element also relates to the intimate dimension of the feminine, so excessive that it becomes a monster or chimera. This is how the artist herself appears in her Autoritratto con liquirizia, a Medusa with a hidden gaze, who does not petrify but rather fears being petrified.