Arnaldo Pomodoro

The idea behind the exhibition is to explore the plastic and visual tensions that emerge from the wall—from the
symbolic surface of the panels—toward expansion and the exploration of space. From the slightly fractured twodimensionality of the early wall reliefs, with a look at drawings and studies, the exhibition moves to the large friezes
and the solid, multi-material panels, which stand as true mural sculptural complexes.
The increasingly monumental dimensions of these reliefs, which inevitably engage in a dialogue with archaic classical
architecture, are counterbalanced in space by a select number of fully three-dimensional sculptural forms, chosen
specifically for their communicative force as signals that cut obliquely through space: wedges, arrows, shields,
astrolabes.
In this progressive conquest of space and the sign’s assertion of meaning, a key motif emerges in its full symbolic
depth: the cuttlefish bone, understood both as a primordial plastic material and as a symbolic sub-fossil remnant. The
exhibition title, De-Rive, plays with poetic and literary references to sea shores, evoking the changing forms, shifting
layers of signs, and shadows on wet sand, of which the cuttlefish bone becomes an extension offered to the human
engraver.
Among the other key themes explored in the exhibition—analyzed in a critical essay by Sharon Hecker (art historian,
curator, and internationally recognized expert on sculptural techniques)—is Pomodoro’s nomadic approach, as he
moves across different sculptural techniques and materials, bringing them into dialogue through a shared visual and
sculptural language.
A bilingual publication by ABC-ARTE Edizioni will be produced, featuring original texts and a rich selection of
documentary materials curated in collaboration with Fondazione Arnaldo Pomodoro.

The idea behind the exhibition is to explore the plastic and visual tensions that emerge from the wall—from the
symbolic surface of the panels—toward expansion and the exploration of space. From the slightly fractured twodimensionality of the early wall reliefs, with a look at drawings and studies, the exhibition moves to the large friezes
and the solid, multi-material panels, which stand as true mural sculptural complexes.
The increasingly monumental dimensions of these reliefs, which inevitably engage in a dialogue with archaic classical
architecture, are counterbalanced in space by a select number of fully three-dimensional sculptural forms, chosen
specifically for their communicative force as signals that cut obliquely through space: wedges, arrows, shields,
astrolabes.
In this progressive conquest of space and the sign’s assertion of meaning, a key motif emerges in its full symbolic
depth: the cuttlefish bone, understood both as a primordial plastic material and as a symbolic sub-fossil remnant. The
exhibition title, De-Rive, plays with poetic and literary references to sea shores, evoking the changing forms, shifting
layers of signs, and shadows on wet sand, of which the cuttlefish bone becomes an extension offered to the human
engraver.
Among the other key themes explored in the exhibition—analyzed in a critical essay by Sharon Hecker (art historian,
curator, and internationally recognized expert on sculptural techniques)—is Pomodoro’s nomadic approach, as he
moves across different sculptural techniques and materials, bringing them into dialogue through a shared visual and
sculptural language.
A bilingual publication by ABC-ARTE Edizioni will be produced, featuring original texts and a rich selection of
documentary materials curated in collaboration with Fondazione Arnaldo Pomodoro.

Solo show of Arnaldo Pomodoro. To scratch, draw, write. curated by Flaminio Gualdoni with critical contribution by Michele Robecchi and Federico Giani. The exhibition, a joint initiative with the Arnaldo Pomodoro Foundation and patronized by the Genoa Local Authority, will present some thirty important sculptures from the late 1950s to the present, reconstructing the long and passionate adventure of the artist in tracing inscrutable signs that become protagonists of the surface and of the form.

Tomas Rajlich retrospective show in dialogue with certain key works of Italian masters of abstract art : Getulio Alviani, Rodolfo Aricò, Agostino Bonalumi, Enzo Cacciola, Antonio Calderara, Nicola Carrino, Gianni Colombo, Pietro Consagra, Dadamaino, Piero Dorazio, Lucio Fontana, Marco Gastini, Giorgio Griffa, Riccardo Guarneri, Paolo Icaro, Osvaldo Licini, Piero Manzoni, Fausto Melotti, Bruno Munari, Martino Oberto, Claudio Olivieri, Arnaldo Pomodoro, Mauro Reggiani, Antonio Scaccabarozzi, Paolo Scheggi, Turi Simeti, Atanasio Soldati, Giuseppe Uncini, Nanni Valentini, Claudio Verna, Gianfranco Zappettini .