For this solo show, Giuseppe Gabellone chose an off-site space, installing three works (all Untitled, 2018) at the Fonderia Artistica Battaglia, near Zero’s former location. The two large rooms in a stark, unfurnished industrial space seemed well suited to the extremely sober, almost minimal works that are the artist’s most recent creations. The large windows, moreover, allowed them to be seen in natural light, in keeping with the artist’s usual practice.

Interested in the signifying relationship between a work and its surroundings, Gabellone often inserts his sculptures into the void of expansive

In a note concerning his work Identificazione in una variabilità oggettiva temporale (Identification in an Objective Temporal Variability), 1973, Aldo Tagliaferro writes, “Two moments exist as components in the structure of the work. One is direct and objective, fixed by a date. The other is indirect and subjective in the sense of memory and the identification of a subjectively ideal reality . . . attaining the point of verification when the ideal reality is no longer our (real) reality.” The central piece in this exhibition and the resulting cycle of works, Memoria—Identificazione—in