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12 November 2021
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Turin, 11 November 2021. Mazzoleni today inaugurates the sculptural group entitled Human Anatomy by Salvatore Astore, a gift from the gallery to the City of Turin. The works specially designed and built to establish a dialogue with the surrounding urban space will be permanently located in the heart of the city of Turin in Corso Galileo Ferraris, at the intersection with Via Cernaia.

“In Salvatore Astore’s work the industrial process and the capacity for imagination meet, two aspects very connected to the Turin tradition, linked to work and its ability to experiment through art. Our gallery has therefore decided to use the city ​​as an exhibition place, putting a great artist in dialogue with the public space and two heroes of the history of Turin and Italy, Vittorio Emanuele II and Pietro Micca “declares Davide Mazzoleni, CEO of the Mazzoleni Gallery.

Deeply fascinated since the beginning of his career by the anatomical drawings of Leonardo da Vinci, starting from 1985 Astore focuses his work on the production of anthropomorphic sculptures in painted welded iron and later in stainless steel.

Francesco Poli retraces the stages of his poetics: “the shaped metal plates, which in the first works were colored with industrial paints, are then left bare and simply satin. These plastic forms, based on a symmetrical articulation of the parts, appear as large slightly convex wall surfaces, or as more or less ogival volumetric configurations in the round, in stainless steel, whose compactness is crossed by deep welds. They are similar to imposing sections of skull caps marked by organic traces of bone sutures, and appear in their cold, empty and monumental immobility as almost metaphysical presences in a suspended space-time dimension “. As an evolution of the sculptures of the 80s / 90s, in recent years the artist has developed a cycle of works of a similar organic matrix but with freer formal developments. In fact, these are large sculptures characterized by the presence of large holes, which make the relationship with the external space more fluid.

The Anatomia Umana sculptural group is made up of a pair of vertical sculptures in brushed stainless steel over 5 meters high, located in a nerve center of the city, at the intersection of Corso Galileo Ferraris and Via Cernaia. The sculptures acquire a specific urbanistic sense and become plastic signs that aesthetically enhance the beginning of the long perspective where the monument to Vittorio Emanuele II stands out in the background. The monumentality and organic essentiality of the material establish a dialectical relationship with the urban and natural landscape that surrounds them.

The dimension of the internal concave spaces of the sculptures, as opposed to the external convex surfaces) imposes itself as the protagonist and fits within a dynamic where the alternation between empty and full is marked by our imagination. The artist, in a skilful conceptual rhetoric, experiments with geometry and volumes, reaching a fleeting frontier where human intervention vanishes and that of nature continues, giving birth to new forms, new anatomies. This site-specific artistic intervention participates in the revaluation of a public space and stands as a model of synergy between public and private. Thanks to the collaboration between the Mazzoleni gallery and public institutions, the redeveloped site presents itself as a new point of reference and a happy example of public art for the benefit of citizens and visitors of the Piedmontese capital.

“Human Anatomy, this recent sculptural work of mine in which two huge holes shaped in the shape of a skull cap deliberately stand out, are – in my view – the plastic translation of concepts such as matter, weight, shape, void that I have always investigated in my make sculpture. The attempt to relate the part with the whole, the visible form of things with the immaterial aspect of knowledge, as well as the urge to seek the organicity of the form, is my way of continuing my research on Man and on the relationship between man and the world “. declares the artist Salvatore Astore, author of Human Anatomy.

The exhibition project, which is part of the recurrences of the fifth centenary of the death of Leonardo Da Vinci, is carried out in collaboration with the City of Turin, under the coordination of the Public Art Office and with the patronage of the Piedmont Region and the City Turin Metro. The inauguration will be held on Thursday 11 November in the presence of the artist and the institutions.

The lighting of the work is by Iren, the operation is made possible thanks to the support of Banca Intermobiliare, and the support of local companies and patrons including Assistudio, Gruppo Building, Damilano, Deltratre, Subduded, Vestil.

The intent of the Gruppo Building is to renew the heritage and historical beauty of Turin: in this direction moves the choice to support the production of Human Anatomy by Salvatore Astore, the new public work in the heart of Turin, curated by the Mazzoleni Gallery.

The Gruppo’s projects enhance historic buildings in Turin, reconverting and transforming them, combining luxury real estate and spaces open to citizens. The work of Building, in fact, has always been strongly oriented towards the union between living spaces and public art: just think of the partnership with the Turin artist Richi Ferrero, who has already created the Vertical Baroque Garden in the courtyard for the group chaired by Piero Boffa. of The Number 6, “the most beautiful house in the world”, in the Luci d’Artista 2021 itinerary. Richi Ferrero is the author of the Futurist Gate – Homage to Depero in the courtyard of Lagrange 12, on whose roof stands the sculpture Equinox, of the work T’Oro visible on the facade of Quadrato, the transformation of the ancient convent of Sant’Agostino, created by Building in via delle Orfane, in whose courtyard Pixel Pancho, famous artist of the world street art scene, painted “Eaten by feelings ”, a work that denounces and reflects on femicide.

Recently the Gruppo Building has also opened the Domus Lascaris open air gallery, a reinterpretation of a rationalist building from the fifties.