The exhibition focuses on the work of the sculptor during the sixties of the twentieth century, combining an interesting work of that period reflections that Pietro Consagra and making on the language of sculpture and its relationship with other arts. Precisely the era are in fact the artist’s considerations about the comparison with architecture, the central theme of his activity, without the knowledge of what can not be learned very well and the conceptual scope.
The story can be seen from a series of thirty medium-sized works dating from the second half of the fifties to the end of the sixties: like the Inventories, which transit on the walls enter an infinite space, in a non-place. The use of different materials, the increasingly frequent incursions in the design of architectural mold – a set of purely sculptural perspectives – until the end of the compositions on a very personal system, counting and theoretical considerations far from obvious and, indeed, today of full relevance. In fact, the artist was able to respond to the variations of the “spirit of the time” with always coherent formal solutions. While on the one hand it has remained faithful to its own initial assumption – on all the frontality of the work – Consagra has been considered to plunge into the changing debate that, in those same crucial twentieth century years, saw the art move from full Modernity to post-modern concerns.