A selection of Castellani’s large-scale shaped relief canvases, Superfici bianche (White Surfaces), are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners. These white and metallic works are placed in dialogue with one another, highlighting the ambient light and shadow effects that occur as the works activate the architectural space in which they are situated. Three-dimensional paintings are complemented by the recent sculpture Spartito, in which Castellani references a seminal work made in 1969 by bolting hundreds of sheets of paper together to create a biomorphic minimalist form. Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani’s break with the trajectory of painting to that point by rupturing the rectangular or square format.

The exhibition, which was on view in London from February 9 to March 26, 2016, is accompanied by a comprehensive book featuring a newly commissioned essay by Angela Vettese, former President of the International Jury of the Venice Biennale and director of the graduate program at the Università Iuav di Venezia. This publication also includes a newly revised translation of a rare interview between Castellani and Hans Ulrich Obrist from 2009.