{"id":6843,"date":"2024-01-30T10:57:59","date_gmt":"2024-01-30T09:57:59","guid":{"rendered":"https:\/\/www.fondazionearnaldopomodoro.it\/?p=6843"},"modified":"2024-10-21T16:19:29","modified_gmt":"2024-10-21T14:19:29","slug":"pomodoro-arnaldo-rotante-massimo-iv-1969-1970","status":"publish","type":"post","link":"https:\/\/www.fondazionearnaldopomodoro.it\/en\/pomodoro-arnaldo-rotante-massimo-iv-1969-1970\/","title":{"rendered":"Pomodoro Arnaldo, Rotante massimo, IV<\/em> (1969-1970)"},"content":{"rendered":"
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Arnaldo Pomodoro<\/strong>
\n<\/strong>Rotante massimo, IV<\/em>, 1969-1970<\/h4>\n

bronze, \u00f8 160 cm<\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n

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Mark Rosenthal writes about the Rotanti<\/em> series: \u201cBest known among Pomodoro\u2019s expressions of the metaphor is his series of bronze globes or \u2018convulsed spheres\u2019. He wrote that \u2018spheres are first of all perfect and magical forms and I break them apart in order to search out and finally discover the internal fermentations they contain, mysterious and alive, monstrous and pure\u2019. Starting in 1966, the spheres assumed a new aspect: in place of the earlier gestural erosions, or in combination with them, regular, geometric openings appeared within the globes. These spheres, now called Rotanti<\/em>, are bored through and perforated as if by a machine. Instead of a sense of time and nature affecting the sphere, we now have the suggestion of a technological attack on the exterior\".<\/p>\n

from: Luoghi Fondamentali. Sculture di Arnaldo Pomodoro<\/em><\/a>, exhibition catalogue, edited by I. Mussa, Fratelli Fabbri Editori, Milan, 1984.<\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n\r\n

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Do you want to know more about this work?
\nGo to the Catalogue Raisonn\u00e9 online!<\/a><\/p>\n\t<\/div>\r\n<\/div>\r\n\r\n\r\n\r\n

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