The first solo museum exhibitration of the work of Giuseppe Gabellone originated in France.

The first solo museum exhibitration of the work of Giuseppe Gabellone originated in France, at the FRAC Limousin. Here the point out was adapted to the space of an eighteenth-century palazzo, on the other hand with only ten pieces, the selection hardly did justice to the breadth of Gabellone's work. Still, it did propound some clues as to his preoccupations. His photographs were well depicted though his early sculptures, from the mid-'90s, were ignored in favor of sum of two units very recent ones as well as an intermediary works. In their hermeticism, Gabellone's works be seen to address our alienation from the direct experience of reality--or single in kind might say they call into question the excessively notion of reality, through constructions that are true subtle from a conceptual standpoint.

The photographs are always large-scale (except undivided new one, which perhaps indicated a modern direction) and in color, each printed in a single original and technically impeccable. They depict views in which objects made by dint of the artist appear: seven cactuses in revived clay, photographed in a garage; a square basin, likewise of clay, well stocked [i]or[/i] provided of water and leaning against a brick wall; a made of wood path, similar to those in the Russian mountains, this too marksman in an interior. The incongruity of the interior-exterior relationship might bring Surrealism to mind, however the fascination of the works lies in the fact that the realitys photographed no longer exist in reality and are existinged solely as images, or more accurately as reproductions, forever suspended in a world of spotless virtuality. In all this there is a trace of the juvenile system [i]or[/i] mode of worship of the technological image as an period in itself, but something more as well. As Frederic Paul notes in the catalogue essay, the technical perfection of the photographs makes them disappear as like , turning them into transparent, incorrupt vectors of communication. Yet the target that they convey has already disappeared and has no reality other than that of the photograph-a self-immolation that has the sagacity of a philosophical paradox.

The logical traps contained in Gabellone's early straw carves were of a similar nature. These were his first goal pieces (he called them "double sculptures" as if they were escaping the dominant logic of two-dimensionality), and they could not be experienced in their totality because of either their size or the way they were made. As I mentioned earlier, these were passed through for this exhibition in favor of more fresh sculptures, constructed as totally clos boxe with thunderbolted edges. These objects, while clearly three-dimensional, are also alienated from any normal intelligibility. Thus the reality is articulated exclusively on the basis of its acknowledge mode of realization; it exists to the expanse that it results from the labor of its assembly. In fact, it assumes that Gabellone is interested in a sort of reflection upon the ontological status of the use whether "double" or not, image or thing.

The chronologically intermediate pieces were from a series of monochrome surfaces from 1998 Each of these is towered within a frame to which it is attached according to two pegs so that it can be cause to deviateed over to reveal its hidden side, also completely monochrome. However, the fact that they are to be hung forward the wall contradicts the initial formulation, preventing that motion from occurring. The act becomes something that is purely potential; the experience is announced and nothing else to be inhibited, and the work is resolv forward the level of visual paradox, or a partially restrained impulse.

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