Devoid of ascertainable origins, freed from the sequentiality of a before and after, the work of art demolishes the barriers of time and projects us into a space extraneous to progress. That art does not evolve, that is, it does not proceed by means of a linear temporal development but is instead capable of introducing new ideas not even hinted at before, is the thesis of this essay on the poetics of immortality in Gino De Dominicis. It is an investigation of a mystery – creation ex nihilo – and a meditation on the origin of all things.Guercio’s starting point is the artist’s most emblematic and controversial work, Second solution of immortality: the universe is immobile, exhibited in 1972 at the Venice Biennale in a room that is the summation of De Dominicis’ reflections and caused such a sensation that it was immediately closed to the public. The reason for the scandal was the presence of a young Venetian man with Down’s syndrome. Positioned facing three objects on the floor – a stone, a rubber ball and the outline of a white square – Paolo Rosa was not merely a provocation as the most reactionary thought, but the fulcrum around which the other elements are arranged, the key to the whole grouping. The multiple dynamics created by this figure allowed the artist to endow the work with an unprecedented power: to open a breach in eternity.Is it possible to read into De Dominicis’ Second Solution a paradigm of immortality that functions outside the closed system of his work? That is, can we establish a link between artistic creation in its broader sense and the search for immortality? This question, posed at the opening of the essay, engages the reader, drawing us into a complete examination of the artist’s themes, pointing up the ones that can support a presumption of contemporaneity over the present period, such as the primacy of the image over the word and the power of discontinuity when faced with a viral proliferation of connections.