executive curator Gianluca Ranzi
organization and exhibit lay-out Fondazione Mudima
The exhibition, which features a dozen large bronzes and an equal number of smaller sculptures, shows how the activity of one of the greatest contemporary artists has progressed in recent years, even with dense sculptural production, and continues to sustain the work dedicated to Tableaux Piège which made him internationally famous to the general public back in the early sixties.
The choice of showing a selection of Daniel Spoerri’s most important, recent works of sculpture responds to the desire to also reconnect to the tradition of the Festival of Spoleto exhibition which, under the direction of Giovanni Carandente, had shown here in Italy, the research of artists who were internationally active and profound innovators comparing it to the language of classical and traditional sculpture.
The same happens with Daniel Spoerri’s bronze works which, produced in Italy, in Seggiano which also houses the artist’s foundation "Il Giardino di Daniel Spoerri", confirms the link that binds the artist to Italy, as well as the characteristic of the Festival of Spoleto to show works by international artists which, however, were conceived in relation to our country, if not indeed produced and implemented there.
The sculptures on display have all been conceived and produced between 2005 and 2016, following a path divided into three phases: the work created by the assemblage of various objects found by Spoerri in flea markets around the world, the first casting in bronze with the flow ducts of the metal still attached and finally the last version, the bronze sculpture cleaned and coated. In this way Daniel Spoerri’s bronze sculptures underline the artist’s interest in investigating how objects, taken out of their usual context and from everyday life, manage to take on other meanings and become evocative and disorienting through their deconstruction, the assemblage and the contamination. Therefore, even the sculptures, just like his famous trap-pictures (Tableaux Piège) entrap the instance and seem to freeze the flow of life to become a powerful reconsideration on the value of time and the cycle of life and death, as well as on the deep meaning of human action and on our being-in-the-world.
Thus, Daniel Spoerri’s sculptures revolve around the idea of capturing forever how much coincidence and life have been caused naturally, and in the same way they are the manifestation of the artist’s attempt to preserve and retain the traces and memory of moments experienced, traditions and customs of the past. The path winding through the sculptures selected, that spontaneously dialogue with an exhibit space which is also austere and full of historical references, thus outlines a sort of archaeological and anthropological reconstruction of our time, relived through the millennial old practice of sculpture and art.