In a performative exposition documents, objects and narrations in-progress will be activated; navigating between history, archive materials, fiction, autobiography and geology. Those materials will be part of a publication of the ongoing research ‘Martellata_14.09.91’ (working title).
‘Martellata_14.09.91’ addresses a chrono-material and dialectical reflection on one of the most paradigmatic acts of iconoclasm of the twentieth century: the hammer blow that Piero Cannata gave to the second toe of the left foot of Michelangelo’s David on September 14, 1991.
The experimental setting will present different voices and perspectives of the accident to approach questions like: What does a hammer blow to a Michelangelo’s sculpture tell us about our relationships to the masterpiece (and to art)? Does an act of art destruction provide access to an object-oriented perspective? What sources of information apart from archives and individuals does the impact set free? How did scientific restorers extract data from David’s fragments? How do we embrace the materiality of the (marble) dust? Does it become a testimony of the attack?   
While disclosing the ongoing process of writing and disseminating, the rehearsal also aims to understand vandalism as a ""type of reality negotiation"" (Stan Cohen, 1973). Furthermore it will look at how do we contain and sustain the boundaries that define the objects around which we organize our lives in order to prevent –or at least defer– their collapse (Fernando Domínguez Rubio, 2019).

Another tentative of ‘Into Sugar We Could Have Turned’ is to openly debate about two aims of the research project: how to contribute to the theories on iconoclasm with a perspective oriented to new materialism; and how to think about fragility and vulnerability, not as problematic but as an inherent condition of the worlds we inhabit - including the Artistic Research one.