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MART

museo di arte moderna
e contemporanea
di trento e rovereto

  • Fausto Melotti, Scultura H (La grande clavicola), 1971
  • Miguel Berrocal, Opus 129 Monumento a Picasso, 1972-1974
  • Giardino delle sculture. Photo: Mart, Jacopo Salvi
The sculpture garden

 

 

 
 

 

The idea of a permanent outdoor sculpture exhibition from the Mart Collections was already in development at the time of the construction of the new museum complex. The installation winds through the garden and terraces of the Mart, creating a dialogue between the sculptures and some of the less conspicuous features of Mario Botta’s architecture. The Mart Sculpture Garden has expanded over time with new acquisitions, and presently includes works by Gino Cortelazzo, Annamaria Gelmi, Alberto Ghinzani, Eliseo Mattiacci, Fausto Melotti, Joaquin Roca Rey and Giuseppe Uncini.
A large sculpture by Miguel Berrocal is situated instead on the terraces to the south of the piazza.
 


Sculptures:


Miguel Berrocal, Opus 129 Monumento a Picasso, 1972-1974
The work was commissioned in 1972 by the city of Malaga as a tribute to Picasso. The bronze version was exhibited at the Rond-Point of the Champs Elyséé in Paris before finding its definitive home in Malaga. It is characterized by the intertwining of a long form, sinuous and sensual, that resolves in a face and a hand inspired by the human forms painted by Picasso.

Gino Cortelazzo, Scenografia, 1979
In this sculpture, thick slabs of black iron rest upon a double base of Corten steel, seeming to rise up with a sinuous movement, alternating sharp corners and curvilinear forms. The two central volumes create a single body with two legs that rest on the two slabs on the left, like theatre stage wings. The overall impression varies according to the point of view: seen from the side, the taller volumes rise from behind the panels like a spire, while from the front the sculpture takes on a more organic form.

Annamaria Gelmi, Oltre il tempo, 2011
Built of steel and bronze, the aim of the work, like many others by Gelmi, is to dialogue with the environment and create a different perception of the surrounding space. It is part of the research that in the ‘90s led the artist to conceive architecture as a sign, a limit, a questioning of space. Characterized by geometric rigor and extreme synthesis, the work does not so much represent the human being as evoke it through an architecture that only waits to be inhabited.

Alberto GhinzaniPietraserrata, 2007
Pietraserrata is composed of synthetic forms in Botticino marble and iron that create an architectural cross-section suggesting a habitable space while reflecting on the interpenetration of interior and exterior. The work seems to straddle the realms of sculpture and architecture, investigating the light/dark possibilities of the material, as evidenced by the contrast between the pale stone and the darker color of rusted iron.

Eliseo Mattiacci, Sonda spaziale, 1993-1995
Sonda spaziale was the first work to be installed in the Mart Sculpture Garden (in 2006), and consists of two metal structures in steel and iron that form a 17-meter column. The giant probe crosses the life-giving energy of sunlight with the visual trajectory of the observer, thrusting into the void with its elongated form that evokes the magic of a totem. At the summit, a spherical form that recalls a globe frames the mountain landscape on the horizon, reinforcing the dialogue between sculpture and landscape that characterizes Mattiacci’s artistic enquiry.

Fausto Melotti, Scultura H (La grande clavicola), 1971
La grande clavicola summarizes the entire artistic career of Fausto Melotti. His experimentations of the 1930s and the research of the ‘60s are combined with supreme naturalness in this sculpture, displayed for the first time at the 36th Venice Biennale in 1972. Its form is measured out vertically by four bands of metal that taper into four rectangular frames transected by a thin curved line that suggests a collarbone. It is a sign, suspended in the void, oscillating in the wind, a dynamic element often present in Melotti’s work, caressed by light and air.

Joaquin Roca Rey, El escudo de Dios, 1967
The sculpture of embossed and welded steel is an exemplar of the artist’s non-figurative enquiry. The subject is probably drawn from mythology, as the title seems to refer to the protective shield of a god.

Giuseppe Uncini, Epistylium, 2007-2009
Epistylium (from the Greek epi = above, and stylos = column) belongs to the cycle of works entitled Architetture, from the final years of Uncini’s career.
The work is a monumental sculpture of concrete and iron, designed expressly by the artist for the Mart Sculpture Garden, characterized by three vertical pilasters, rotated so as to counter the axis of the horizontal beam that rests upon them. The rigorous geometry of the work conveys an idea of solemnity and exalts its tectonic structure, bringing to mind ancient monuments characterized by a similar orthogonality, from Stonehenge to the temples of Greece and Rome.
 

The Collections

The Collections

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