ROME \ aise \ – It opened last Tuesday, May 24, at Weather in Galeria Mucciaccia from Rome the personal exhibition of Pietro Consagra “Sculpture in relation. Works 1947-2004”, Edited by Francesco Pola. The exhibition, organized in collaboration with the Pietro Consagra Archive in the spaces of Largo Fontanella Borghese, will be open to the public until 5 August.
Sixty works cover the inventive richness of Pietro Consagra (Mazara del Vallo, 1920 – Milan, 2005), one of the most significant figures on the international art scene of the twentieth century. The exhibition is the artist’s first significant retrospective in Rome after the important anthology dedicated to him by the National Gallery of Modern Art in 1989, accompanying the visitor on a journey from his first abstract sculptures of 1947 to the last works of the 2000s.
Among other things, some of the major works of the late 1940s will be exhibited, such as the emblematic Totem della Liberazione (1947-86) and the surprising and anticipated Geometrie (1947); the masterpiece Colloquio con la sposa (1960) in burnt wood and bronze, presented by the author at the Venice Biennale the year he won the International Grand Prize for Sculpture; the two Tales of the Devil (1962) inspired by the experience of Sculture nella città in Spoleto; one of Solid and Transparent made during his stay in Minneapolis (1967); one of the rare urban schemes of buildings and a frontal city of three types of steel (1968); one of his first Matt Stones of San Vito in marble (1972); rare works from the 1980s from the Matacubi (1985) and Planetes (1987) cycles; the gilt bronze version of the Oracle of Thebes sequence designed for the Orestiadi di Gibellina (1989); one of the facades of Ghibli Città Frontale (1995); an extraordinary selection of Bifrontals from several decades in marble and semiprecious stones, alabaster, bronze, iron.
The exhibition traces the path of Consagra not in a purely chronological sense, but in accordance with an interpretation that highlights the importance of the relationships between sculpture, space, observer: specific attention to the “location” of the plastic presence in relation to the observer, the fulcrum. of the characteristic “frontal sculpture” codified by Consagra from his famous Colloquium of the early fifties and theorized contextually already in his book Necessità della sculpture (1952).
The comparison between different moments of Consagra’s creative path thus allows us to emphasize both the elements of continuity of his work, but also and above all the specificities of the individual periods, offering a varied panorama of his continuous reinvention of forms and his experimentation with the materials.
Pietro Consagra (1920-2005) is a crucial figure in post-war and contemporary sculpture, internationally recognized and widely alive in Europe, the United States and Japan. He exhibited at its first Venice Biennale as early as 1950 and participated ten times more, winning the International Grand Prize for Sculpture in 1960. He received an award at the 1955 San Paolo Biennale, an honorary mention from the Carnegie Institute in 1958, the Prix de la Critique in Brussels in 1959. In 1967 he spent a period of his life in Minneapolis, where he also made large sculptures, and exhibited at the Marlborough Gerson Gallery and Solomon R. Guggenheim Museum New York. In 2001 he received the Gold Medal of Art and Culture from the President of the Italian Republic. He has made numerous sculptures on an urban scale, such as those of Largo Santa Susanna in Rome and those of the European Parliament in Strasbourg. Consagra was one of the first contemporary Italian artists to enter the collections of the Art Institute of Chicago and the Hirshhorn Museum and Sculpture Garden in Washington DC and the first living contemporary artist to exhibit at the St. Petersburg Hermitage. . His sculptures are in the permanent collections of the Museum of Modern Art, New York; National Gallery, Washington; Solomon R. Guggenheim Museum, New York; Peggy Guggenheim Collection, Venice; Georges Pompidou Center, Paris; National Museum Reina Sofia Art Center, Madrid; National Gallery of Modern Art, Rome; Pinacoteca di Brera, Milan (among others). The creative extension of Pietro Consagra’s work will be fully feasible thanks to the forthcoming Catalog Raisonné of Sculptures, edited by Luca Massimo Barbero and Archivio Pietro Consagra, Milan. (easy)