The announcement for Luciano Fabro’s exhibition read, “Computers di Luciano Fabro . . . Caramelle di Nadežda Mandel’štam” (Luciano Fabro’s computers . . . Nadezhda Mandelstam’s candies). The two phrases, presented like a book title, were connected by an open ellipsis. Fabro’s hand can be recognized in the subtle and continuous irregular mark that is his signature. It is a line that registers the amplitude of the arm, but also contains a double movement, rising and falling, revealing a relationship.

It is a relationship of love, a love that has tied Fabro to the great Russian poet, Osip Mandelstam,

Ange Leccia refers to his works with objects as “arrangements.” Unlike the term “installation,” arrangement implies a nondefinitive, ephemeral disposition of elements. Leccia expresses a sense of order based on symmetries and on correspondences between elements, and this structural precision gives rise to a new universe of meanings. Indeed, one might say that by combining objects, Leccia proposes orders aimed less at establishing a new system, than at intervening conceptually with existing ones.

Whether large or small, most of the objects Leccia chooses—televisions, projectors, suitcases,

The announcement for Luciano Fabro’s exhibition read, “Computers di Luciano Fabro . . . Caramelle di Nadežda Mandel’štam” (Luciano Fabro’s computers . . . Nadezhda Mandelstam’s candies). The two phrases, presented like a book title, were connected by an open ellipsis. Fabro’s hand can be recognized in the subtle and continuous irregular mark that is his signature. It is a line that registers the amplitude of the arm, but also contains a double movement, rising and falling, revealing a relationship.

It is a relationship of love, a love that has tied Fabro to the great Russian poet, Osip Mandelstam,

Ange Leccia refers to his works with objects as “arrangements.” Unlike the term “installation,” arrangement implies a nondefinitive, ephemeral disposition of elements. Leccia expresses a sense of order based on symmetries and on correspondences between elements, and this structural precision gives rise to a new universe of meanings. Indeed, one might say that by combining objects, Leccia proposes orders aimed less at establishing a new system, than at intervening conceptually with existing ones.

Whether large or small, most of the objects Leccia chooses—televisions, projectors, suitcases,