Default is a work of art on the disillusionment of a system which has reached a turning point. A man, alone, sits among the ruins of an abandoned factory in front of a phone. His hand holds the receiver and brings the handset to his ear. A series of answering machines, whose metallic tones, like a filter between the citizens and their Country, direct him in a vital suspension made only with waitings. His request for being heard is mediated with a series of numbers, recorded voices and impersonal sentences which bring him in a compulsive carousel of information and pauses. Suspended in this non-place, where time expands and the collapse of society seems impending, a man can only wait for an answer which will never arrive. Mistaking a key, a timetable or a sentence means starting afresh. In the loop of the pre-recorded answers the nature of a Country is subtended, which is not able any more to speak to its citizens, more and more faraway, inadequate, absent. The key to read this work lies in the static nature of the picture, which is based on the symbolic elements introduced by the author. Under the ecclesiastic vaults of a factory of the early XIX Century, a liturgy takes place. The phone from the Sixties, emblem of the economic boom and the table, covered in white cloth to symbolise a sacred banquet, are the ritual props of this celebration. The phone call becomes a metaphysic event, like a prayer devoted to a faceless and nameless entity whose answered cannot be always trusted. From the point of view of the citizens, what the Countries usually call a default, becomes the communication gap in which the inability to comply with the terms of the social contract is resolved.