Last November, Nico Vascellari moved into the Sala delle Armi in Rome for a month. A huge, rationalist building built in 1934 as a fencing school, and adapted, in 1981, as the Aula Bunker of the court of Rome, it hosted a series of famous trials—namely that of the kidnapping and murder of Aldo Moro, that of the assassination attempt on Pope John Paul II by Mehmet Ali Ağca, and the anti-mafia processes. It’s a long, gloomy, and resonating marble gymnasium. In the middle of the room, the artist constructed a one-to-one plywood replica sans roof of Codalunga, the studio/gallery/venue he maintains in his hometown of Vittorio Veneto, in the northeast of Italy. Codalunga is where he plies his double trade of artist and musician, trying not to allow either one to become an illustration for the other. Over the course of December 2014 he organized a series of performances and lectures by his collaborators from the art and music worlds: electronic and noise musicians, artists, and curators among them. At the same time, he installed a show at Monitor, his Rome gallery. For the opening night at the Sala delle Armi, he imported some of the pieces from the gallery show …