A new monumental sculpture at Palazzo Collicola

The 6m-high work ‘Liberamente’ created by sculptor from Alto Adige Eduard Habicher

The work has been expressely conceived to be exhibited at Palazzo Collicola, its model’s iron base even reproducing the concrete one on which the actual sculpture is placed.

Artistic director of Palazzo Collicola Marco Tonelli said: “Following the choices already made in the past, we would like to have Eduard Habicher’s sculpture permanently on display at Palazzo Collicola. The intention is to follow the logic that Giovanni Carandente adopted with Sculptures in the City in 1962, when some works of enormous value remained in Spoleto, becoming an iconic element of the city“.

The artist has also provided the sketch that will be part of the exhibition “Work in Progress. Works from the Modern Art Gallery at Palazzo Collicola and the Fondazione Marignoli di Montecorona“, scheduled from 26 June and which will display about 40 sketches of antique works from the Marignoli collection and about 30 from the collection of the Modern Art Gallery.

The sculpture depicts two free loops swirling and protruding in space, painted black and red, a typical colouring in Habicher’s work of the last decade, and juxtaposed as if they were antithetical principles, or in any case giving the impression that the red one is soaring upwards in a vortex that it is released from the grip of the black one connected to the base. Habicher’s sculpture in general, and this one in particular, while not concealing symbolism or seeking to exploit metaphors of any kind, with its energy and its oscillations, with its rings and its empty spaces, its spirals and its interlacements, alludes to the principles of the mathematics of knots or the theory of loop quantum gravity, which hypothesises multidimensional forms in space that create matter and mass through the frequency of oscillating high-energy waves or strings.
Representing a sculptural tendency that we might define as “late industrial” or “iron and steel” rather than abstract or geometric, Habicher stands in the wake of a modern tradition that since the 1960s has been in the forefront of sculpture, through figures such as Beverly Pepper (see her ribbon sculptures from the 1960s) or Mark Di Suvero (see his use of iron girders), has expanded the concept of fullness and emptiness to environmental dimensions (also in the wake of Albero Burri’s Big Irons “Celle” and “R”), without having the ambition to construct anything architectural or theatrical.

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