{"id":3981,"date":"2023-09-15T17:42:11","date_gmt":"2023-09-15T15:42:11","guid":{"rendered":"https:\/\/www.fondazionearnaldopomodoro.it\/?p=3981"},"modified":"2023-09-18T17:18:19","modified_gmt":"2023-09-18T15:18:19","slug":"la-scultura-italiana-del-xxi-secolo","status":"publish","type":"post","link":"https:\/\/www.fondazionearnaldopomodoro.it\/en\/la-scultura-italiana-del-xxi-secolo\/","title":{"rendered":"La scultura italiana del XXI secolo"},"content":{"rendered":"
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La scultura italiana del XXI secolo<\/strong><\/em><\/h4>\n

curated by Marco Meneguzzo
\nOctober 20, 2010 - March 30, 2011
\nFondazione Arnaldo Pomodoro, Via Solari 35, Milano<\/p>\n<\/div>\n<\/section>\n<\/div>\n<\/section>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n

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Five years after the exhibition Italian Sculpture of the 20th Century<\/a><\/em><\/strong>, which inaugurated the exhibition venue at Via Solari 35 in Milan, the Foundation presents a new major exhibition to provide a first overview of the latest Italian trends in the field of plastic arts<\/strong>.<\/p>\n

Curated by Marco Meneguzzo<\/strong>, Italian Sculpture of the 21st Century<\/strong><\/em> presents works by 80 artists, all born in the second half of the last century, ranging from the now established Nunzio<\/strong> and Dessi\u0300<\/strong> to representatives of more recent generations such as Cattelan<\/strong>, Bartolini<\/strong>, Dynys<\/strong>, Esposito<\/strong>, Arienti<\/strong>, Moro<\/strong>, Beecroft<\/strong>, and even younger artists like Cecchini<\/strong>, Sissi<\/strong>, Demetz<\/strong>, up to the very latest figures such as Sassolino<\/strong>, Simeti<\/strong>, Previdi<\/strong>, and Gennari<\/strong>, all part of a project examining the ongoing transformation of the linguistic boundaries of sculpture.<\/p>\n

The exhibition showcases the most diverse expressions of what is emerging as a \u201cnew trend in sculpture\u201d<\/strong>, today the discipline most difficult to define: languages have definitively hybridized, traditional codes have been rapidly abandoned over the last thirty years, and what was once the artistic discipline most \u201ccertain\u201d in its definitions has effectively become the most uncertain. Sculpture now belongs to the realm of the transient, so much so that the traditional claim of permanence\u2014marked by the use of nearly eternal materials like bronze and marble\u2014risks being perceived as anachronistic not only by the artist but also by their audience.<\/p>\n

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\u201cWhen five years ago<\/em> \u2013 states Marco Meneguzzo \u2013 we exhibited in these very same spaces<\/em> La scultura italiana del XX secolo<\/a>, the disciplinary homogeneity still had the color and texture of bronze and marble, and what deviated from that still appeared as a substitute, an imitation of those; today, the presence of those materials in an exhibition that is above all colorful and \u201csoft\u201d immediately takes on the character of a quotation. Certainly, it is not the chromatic or tactile quality, however different, that can determine the question of sculpture\u2019s continued existence as an independent discipline (after all, all ancient sculpture was very colorful), but on the other hand, the comparison between what was \u201cbefore\u201d and \u201cnow\u201d must begin somewhere, and beginning with the evident is nonetheless a good practice.\u201d<\/em><\/p>\n

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Attempt a new definition? Accept everything indiscriminately? Let sculpture dissolve into the so-called \u201cinstallations\u201d or even into architecture? This is the challenge posed by the Foundation\u2019s exhibition<\/strong>, which in its first five years of activity has been distinguished precisely by its work in promoting and researching sculpture internationally, both in its historical meanings and more contemporary ones. This is the programmatic line within which the event fits, with the critical, scientific, and historical intent to support Italian artistic production, making it known internationally, with artists belonging to very diverse trends, without exclusions except for quality and the curriculum of each artist, even if very young.<\/p>\n

A bilingual catalog \u2013 Italian and English \u2013 published by the Foundation<\/strong> accompanies the exhibition, featuring texts by Marco Meneguzzo, Roberto Pinto, and Simone Menegoi, and entries curated by Arianna Baldoni, Paola Boccaletti, Rossella Farinotti, and Lorenzo Respi.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\r\n\t\t

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