Who knows if Attilio Solzi, in creating his series “Monolith”, thought of Piero Manzoni. There are two decidedly curious coincidences linking them together in some way: one has to do with a geographic location, the other with the function that can be attributed to an object, whether artificial or natural. As for the first coincidence, both of them, more than fifty years apart, are “pushed” from Milan and its hinterlands to the extreme north of Europe: Manzoni ended up in Herning, Denmark, a bustling town located in the region of Jutland, considered densely populated by local standards. Solzi, on the other hand, went to Neskaupstaður, a minuscule and remote village with about a thousand residents in the Norðfjörður fjord, in the east of Iceland. In January 1961, Manzoni built his second “magical base” (the first was the year before) in Herning: a wooden parallelepiped meant to transform “any person, any object on it, as long as it stayed there”, into a work of art. (…)