![]() ![]() ‘The exhibition is intended to be a great autobiographical theatre – real and of the mind, historical and imaginative at the same time,’ say Respi and Viliani. The show emphasises the inner workings of Pomodoro’s universe, which the curators describe as an ‘exhibition within an exhibition’, comprising drawings, photographs and documents, many never seen before. Archaic, modern, or even fantastical, the tangled matrix of codes, signs and ‘writings’ in these sculptures nod to human interference in nature, creating instead something altogether more unworldly. (Image credit: Carlos & Dario Tettamanzi)īut instead of Pomodoro’s greatest hits, notably his hyper-polished bronze spheres erupting with angular shards, the exhibition sheds an alternative light on the artist’s practice and, in turn, gets to its soul. The piece now sits outside the Palazzo della Farnesina in Rome, the same city where the artist is currently on show at the Palazzo della Civiltà Italiana, the Roman HQ of luxury fashion house Fendi. In 1966, he began experimenting with large-scale sculpture, creating Sfera Grande for the Montreal Expo. Mostly rendered in burnished bronze, these early works are evocative of futuristic cities containing fossil-like bones of ancient civilisations, rupturing with the chaos of history, but perfectly contained. ![]() Soon after, he shifted gears to create the sculptures for which he is best known: geometric spheres, discs, pyramids, cones, columns and cubes. ![]() He executed his first public commission in the early 1960s when he created a relief for the façade of Cologne’s adult education centre on Josef-Haubrich-Hof. In the following decades, he proved his creative versatility as an artist, educator, documenter of global culture, and sculpture pioneer.
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