In 1960, on the Po River in Turin, Italian architect and designer Carlo Mollino began restructuring a villa, Villa Avondo, which would be his final building project, keeping him busy until his death. Conceived of as a pyramid or "warrior's house of rest", he prepared the house with a view to it becoming his final resting place, creating a "true residence after the necessary interval of life". Casa Mollino was his private pyramid, filled with his private collection of artefacts and photographs.
Ruilova's new film was shot on location and features objects from his house. This interior was the perfect setting for Ruilova to develop her interest in western contemporary culture's relationship with death through Mollino, who had a particularly unusual interest in the occult and the rituals that surround it.
In Endings, the 7-monitor video installation in the main gallery, miniature models represent the psychological spaces depicted in seminal films that have influenced Ruilova's work. These haunting architectural environments, from Possession (Andrzej Zulawsk), The Beyond (Lucio Fulci), Contempt (Jean-Luc Godard), and Zabriskie Point (Michealangelo Antonioni) serve as ideological bookends. Ruilova references generic filmic establishing shots. Despite their specific origins, they serve to set the scene, but in this case for no subsequent narrative.