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Mauro Staccioli


Volterra, Italy, 1937. Lives and works in Milan and Volterra.


He was graduated in the Art Institute in 1954. Oriented at first in the painting and lithography, on 1968 he starts on concentrating on the sculptures. He expresses his personal ambient conception of the sculptural work, used to interact with the physical space of its destination, for which it was thought. The huge installations in iron and then in concrete realized during the seventy in Milan, Volterra, Grenoble, Parma and Venice (37th and 38th Biennial) represent the result of this concept, marked by the interaction man-space. At the end, Interaction is a key-word of the search of Staccioli that has been developed until today and expresses not only a circularity of relations of sense between the artwork and the environment, but also a reference to the relationship man-environment. The ‘eighty are the years when Staccioli is confirmed as artist as international level. Big installations in concrete inaugurate a new phase of his artistic search, that shows, at the beginnings a clear visual aggressiveness, that will be characterized from a new and original planning concept that seems to compete the static equilibriums of the artwork and the architectonic or natural harmonies of the context. In 1987, the Museum of Contemporary Arts of La Jolla, Saint Diego, California, dedicates to the artist the first personal american exposition; still in 1987 he receives the assignment to realize a permanent sculpture for the Olympic park in Seul; In South Korea he also begins an active for conferences in the universities, installation plans and personal exposition. In the same year the town of Milan dedicates him the first important personal exposition in the Rotonda delle Besana. The most meaningful realizations at the end of ' 90, is the installation for the International Symposium of Sculpture of Andorra, for which he realizes a huge circle in red steel, 12 meters high and placed on the flank of a mount in Ordino d’Arcalis. The artworks of ' ‘90 represent for Staccioli, with no doubt, an ulterior and a more complex artistic phase, in which the political and controversies elements of his speech, take lightness in favor of a speech toward existential topics, but always related to a strongly consideration of the presence of the man in the world and his relationship with the environment.

see also
June 26—October 20, 1988
Europe Now