The Rivoli Castle Museum of Contemporary Art presents the second edition of Insertions, the six-month program of commissions that introduces new works conceived in active dialogue with the baroque rooms normally dedicated to the Permanent Collection, transforming them into a constantly evolving exhibition device. The project intervenes in the museum's narrative by inviting contemporary artists to engage with the unfinished architecture of the Castle and with the

historical and symbolic stratification of its rooms, activating new relationships between works, space, and memory.

Curated by Francesco Manacorda, with the intervention of Huda Takriti curated by Linda Fossati, Insertions involves for this edition Gabriel Chaile, Lonnie Holley, and Huda Takriti, whose practices address themes related to memory, genealogy, and the construction of collective narratives in different geographical and cultural contexts. Conceived using the courtly rooms as a non-neutral starting point, the works are integrated into the Collection's path, contributing to periodically renew its display and broaden its cultural perspective. Through these commissions, the Museum continues to rethink the canons of art history, opening up to traditions and visions that critically question dominant Western narratives.

The project is rooted in the original vocation of the Rivoli Castle as a place open to direct artist interventions, where architecture becomes a generative condition. Artists are thus called to actively participate in writing the museum's exhibition history, contributing to the evolution of its cultural heritage.

Gabriel Chaile (San Miguel de Tucumán, Argentina, 1985) presents an intervention related to the medieval well of the Castle, an element that connects the building to the hill on which it stands. The space is transformed into an environment suspended between a historical diorama and a science-fiction scenario, where a clay anthropomorphic figure interacts with sculptural elements evocative of a precarious encampment, suggesting a post-apocalyptic survival condition. The artist's research is based on the concept of the "genealogy of form," according to which forms preserve cultural stratifications and traces of individual and collective memories. Made with clay, earth, and adobe, his sculptures are inspired by artisanal traditions and indigenous cosmologies of northwestern Argentina, evoking ancestral narratives and processes of cultural transmission. In dialogue with the fragments of historical frescoes present in the room, the intervention intertwines architectural memory and contemporary imagination, reflecting on history, identity, and transformation.