"Giuseppe Penone. Incidences of the void" was born from the collaboration between the CRC Foundation and the Castello di Rivoli Museum of Contemporary Art. Conceived as an exhibition project shared between the two institutions in the Monumental Complex of San Francesco in Cuneo and in the garden of the Castello di Rivoli, the exhibition presents the heart of the research of the artist Giuseppe Penone (Garessio, 1947). A reflection on the duality between empty and full as constitutive and material parts of his artistic work, through a precise selection of works that relate the two locations, in a sophisticated game of juxtapositions and references. Today, among the most important and recognized sculptors in the world, the artist emerges at the end of the sixties in the context of Arte Povera .

Among the most important and innovative artistic movements of the twentieth century at an international level, Arte Povera finds its origin in Piedmont, from which an important nucleus of the group of artists comes. Arte povera is generally defined as an art of heterogeneous and "poor" materials and techniques. More important than this, artists are interested in creating real energy situations, in which nature and culture are not opposites. Today Arte Povera, and in particular the work of Penone, enjoys a renewed interest, also linked to the appreciation of that artistic freedom and interest in nature present in it.

Penone 's art explores the foundations of sculpture as a way of knowing and empirically understanding the world. His art is based on the principle of embodying a physical, tactile-visual awareness of all organisms and their transformations. Penone perceives the world and life in a sculptural way, touching and caressing its constituent parts. Even the act of breathing is a form of automatic sculpture, produced without realizing it. Sculpture concerns the carving, excavation and production of voids or, on the contrary, concerns the fusion, duplication and multiplication, through a series of passages, from positive to negative, of the form being duplicated or copied. Both addition and subtraction take place through gestures of encounter and, therefore, through relations of intention between the human and the matter, between the human and the non-human.