Catalog of the exhibition conceived in 2024 in the spaces of the Museo d’arte Mendrisio, Switzerland, from March 24 to July 7, curated by Barbara Paltenghi Malacrida, Francesca Bernasconi and Federico Sardella, in collaboration with the Enrico Castellani Foundation. The book, sponsored by the Museum and published by Edizioni Casagrande, features essays by two of the curators, the first focusing on the reasons that stimulated the exhibition, written by Museum director Barbara Paltenghi Malacrida, and the second by Federico Sardella on the places, cities and geographies that played a decisive role in the artist’s life. The book is accompanied by three texts written by Ester Coen, on Castellani and a new conception of the image, by Fulvio Irace, on the relationship between space, environment and architecture; and by Paolo Bolpagni, on a possible dialogue with music through time and its pauses. In addition to the five essays, a series of stock images are presented while the central body of the volume is dedicated to reproductions of all the works in the exhibition, some of which are set. The publication closes with an updated biographical note and apparatuses compiled for the occasion.

Published by Skira in 2023, the Third Tome of Enrico Castellani’s Catalogue Raisonné brings together the artist’s works on canvas, sculptures, high-reliefs and installations not counted in the first two tomes produced in 2012. Edited by Lorenzo Wirz Castellani and Federico Sardella, the volume continues the work initiated by Renata Wirz and promoted by Castellani himself, representing a renewed tool for identifying the artist’s works and the conclusion of a long path of reconnaissance. Organized chronologically following the numbering used in the previous tomes, the third volume includes the works on canvas created between 2006 and 2016, documents the sculptures and reliefs executed with different materials and technical procedures between 2004 and 2015, and updates the first two publications through photographs and detailed cards related to works not previously included, conceived from the mid-1940s until 2005. Accompanied by archive images, timely bibliographies and lists of solo and group exhibitions, the publication also features an introductory essay by Federico Sardella and an interview with Castellani given in 2009 at the microphone of Hans Ulrich Obrist.

Published in 2022 by “Corriere della Sera”, with the newspaper, for the series “Arte contemporanea. I protagonisti. I grandi illustrati del Corriere della Sera,” issue 12 of the weekly edition is dedicated to Enrico Castellani. Divided into thematic chapters, in this publication Castellani’s work is described and examined by reviewing several emblematic moments of his production. From the first Superficie nera of 1959 to the Ambiente bianco of 1967, examining installations and sculptures, as well as classic relief surfaces, the artist’s work is read through a series of timely insights and a biographical news item compiled for the occasion.

Published in 2021 by Abscondita, this volume collects for the first time a series of Enrico Castellani’s writings, most of them unpublished, which are ordered with a chronology in time but also considering a grouping dictated by themes and motivations. Introduced by a note drafted by Federico Sardella, the writings restore the complexity of Castellani’s thought and touch on the most diverse areas. Therefore, the reader is offered a set of glosses that can accompany and support the analysis of the works and direct toward a deeper knowledge of the thought, personality, and events that studded the life, memory, and affections of this great author. The last pages are devoted to a timely biographical note that points out chronologically the focal points in the artist’s career and life.

Catalog published for the exhibition Enrico Castellani. Le superfici e i fondamenti set up in the LOOM Gallery, Milan, from October 28 to December 21, 2021. The small publication presents an essay by Tommaso Trini, who surveys Castellani’s production in light of twentieth-century scientific theories and discoveries, particularly physics and cosmology, creating a bridge between these and the works in the exhibition. Following, a series of installation views show the works: two White triangular surfaces and two Sculptures in wood and steel cables, placed in dialogue and conceived in 1999 for an anthological exhibition at the Galleria Civica, Trento, and until now never shown again.

A book published in September 2018 by the Italian Union of the Blind and Visually Impaired of Viterbo (Unione Italiana dei Ciechi e degli Ipovedenti di Viterbo) in collaboration with Fondazione Carivit. The idea stems from a 2015 project that aimed to make Enrico Castellani’s works perceptible to an audience of blind and visually impaired people only through tactile sensations and an exploration of the canvas by exclusively using their hands. The initiative was made possible thanks to the collaboration of the artist himself, who recognized the importance of a purpose that aspired to include blind people within the artistic experience, in order to go beyond the concept of sight as the only accessible sense. The book is introduced by an Enrico Castellani written, followed by a piece written by Federico Sardella. It collects transcripts of thoughts, comments and considerations expressed by blind or visually impaired individuals invited to the project, which were compiled as they were experiencing the work Pseudo Braille Surface.

A volume published by Dominique Lévy, produced in collaboration with the Fondazione Enrico Castellani, on the occasion of the exhibitions held respectively at the London gallery from 9 February to 26 March 2016 and at the gallery in New York from 7 April to 21 May. The volume in Italian and English opens with a poem by Bruno Corà originally published in 1985 as part of a portfolio containing two paper reliefs created for the A.E.I.O.U. Editions (Rome). The poem is followed by an essay written for the occasion by Angela Vettese, by a long interview with Enrico Castellani by Hans Ulrich Obrist dating to 2009 and a text of 1994 by Mario Luzi. The main part of the volume is instead made up of the images of all of the works on exhibit, together with a selection of recent as well as formerly unpublished works, and concludes with a chronology compiled by Federico Sardella.

A catalogue with text in Italian and English printed after the exhibition entitled Surfaces et Correspondences with works by Enrico Castellani and Lee Ufan, held in the gallery spaces of Lorenzelli Arte in Milan from 21 May until 30 August 2015. The volume contains a series of repertory images that accompany an essay by Federico Sardella which talks about the tie between the two artists, Enrico Castellani’s relationship with Japan and Lee Ufan’s with Italy. The catalogue also contains the reproductions of all the works exhibited, the installation of the exhibition and two texts written by the artists adapted for the occasion.

Catalogue published on the occasion of the exhibition of works on paper by Enrico Castellani housed in the gallery of Matteo Lampertico in Milan from 11 December 2015 to 26 February 2016. The volume, published in collaboration with the Fondazione Enrico Castellani, includes an essay by Irina Zucca Alessandrelli focusing on works on paper created by the artist from 1959 to 2015 with particular attention being paid to the emblematic works and to those on exhibit, all of which reproduced in colour in the catalogue.

A catalogue published in 2014 by Colophonarte in collaboration with the Archivio Enrico Castellani. The bilingual Italian/English volume contains a chronological review of every limited edition of the artist books, which showed Castellani as either the protagonist of the edition, or as the author within a collective graphic initiative. The catalogue illustrates editions of graphic works in which Castellani took part since 1960, in addition to detailed images of the above-mentioned editions. The volume is introduced by a text by Sandro Parmiggiani, with a postface by Bruno Corà. The catalogue enumerates, describes and reproduces the most important artist books conceived by the author, as well as every publication of the same Colophonarte publishing house from 1994 to 2012, for which Castellani made impressions in paper and metal.