Romeo Castellucci is interested in the construction of the image and its manipulation with a strong aesthetic and often political component. An imaginary where the most theatrical fits, as we have seen in Bros (Temporada Alta) and the trilogy on the Divine Comedy by Dante and On the Concept of Face, in the Son of God (Festival Grec), but also in performative installations such as Il terzo Reich (Temporada Alta) or this Believing in Masks. The Italian artist creates a sequence of objects that enter and leave the pristine white space of the museum-like air of the Raval room of the CCCB, surrounded by spectators masked with different human masks. They are objects of a certain quotidian nature (a glass of milk, a bouquet of flowers, a jug, a photograph of Stan Laurel, a crucifix...) which he names with names that have nothing to do with them, exhibiting an impossible logic, since the series is designed for the final appearance of an electric chair like those used in the executions of condemned to death and which, now yes, is called by its name: chair. A chair very similar to Andy Warhol's famous screen print that may or may not provoke the reaction of the attendees. From mere observation to its use and finally its figurative destruction. Forty minutes of a visual poem very typical of contemporary art.