A performance that is intended to give center stage to an often-overlooked detail. The visit of Nembrot, King of Babylon, to the construction site where armies of workers were at work to build the immense tower of Babel in the Seinear – which occupies almost the entire painting and landscape – in the painting by Pieter Bruegel the Elder.

Our Nembrotto, as Dante calls him, arrives at the foot of one of our coastal towers which is about to be somehow “continued” and increased in its height. The performance does not celebrate successful completion of the works, but an ordinary phase of the construction process. The king, in the way of our days, has hired a company of developers to increase the height of the existing tower and thus its transmission capacity. The Tower of Babel has become a large relay antenna, a transmission tower. From the prototype that the architects show to the customer, we understand that the tower houses up to three transmitters. Behind them, the coastal tower still goes on serving its hundreds-year-old watching and signaling functions through the presence of human figures that make themselves heard through nautical smoke bombs.