About the show

Renata Fabbri arte contemporanea is pleased to announce the exhibition Scultura #1 Mattiacci Nunzio Termini that will inaugurate on November 23, marking the first show in a series of events devoted to establishing a dialogue between sculptors who use varying means of expression.

In the Milanese gallery, the works of the three artists – who have been personally engaged in all its initial, construction, and installation phases – dialogue though maintaining their individuality also with the public in a unique three-person conversation.

Eliseo Mattiacci (Cagli, PS – 1940), Nunzio (Cagnano Amiterno, AQ – 1954), and Giovanni Termini (Assoro, EN – 1972) have different backgrounds and conduct diverse research. Yet their way of making sculpture, their objectives and courses allow for moments of encounter where the sense of proceeding takes cue from the experiences of the others, and where exchange is availability and ability to interpret a thought, which is not limited to meeting but instead goes beyond, establishing a land, a place of possible overlapping, and, naturally, dialogue. And it is precisely this idea of sculpture – able to interact with the space by changing and enlivening it – that joins these three artists, whose works imbue the venue and become a part of it, erasing the distance between them and initiating a sort of alchemy that unites the work with its surroundings.

Each artist displays floor and wall sculptures, some of which were made specifically for the show. Eliseo Mattiacci presents an important work from the mid-1990s: Tempo globale and his “propeller” Dinamica Verticale from 2013, along with a map from the early 1980s from the series Dechirages. Instead, Nunzio displays three never-before-seen works: in addition to a map made for the show, the artist presents a large burned wooden column of intense black, plus a work with lead on wood that stands out for its silent opaqueness and soft materials. Instead, Giovanni Termini presents a cement sculpture from 2015 titled Tentativo di ripresa, and Stretta all’angolo, also from 2015, a work in steel and neon that expands across the gallery and which seems to lean and comply with the needs of the sculpture, which irreversibly transforms it and modifies its perception

Renata Fabbri arte contemporanea is pleased to announce the exhibition Scultura #1 Mattiacci Nunzio Termini that will inaugurate on November 23, marking the first show in a series of events devoted to establishing a dialogue between sculptors who use varying means of expression.

In the Milanese gallery, the works of the three artists – who have been personally engaged in all its initial, construction, and installation phases – dialogue though maintaining their individuality also with the public in a unique three-person conversation.

Eliseo Mattiacci (Cagli, PS – 1940), Nunzio (Cagnano Amiterno, AQ – 1954), and Giovanni Termini (Assoro, EN – 1972) have different backgrounds and conduct diverse research. Yet their way of making sculpture, their objectives and courses allow for moments of encounter where the sense of proceeding takes cue from the experiences of the others, and where exchange is availability and ability to interpret a thought, which is not limited to meeting but instead goes beyond, establishing a land, a place of possible overlapping, and, naturally, dialogue. And it is precisely this idea of sculpture – able to interact with the space by changing and enlivening it – that joins these three artists, whose works imbue the venue and become a part of it, erasing the distance between them and initiating a sort of alchemy that unites the work with its surroundings.

Each artist displays floor and wall sculptures, some of which were made specifically for the show. Eliseo Mattiacci presents an important work from the mid-1990s: Tempo globale and his “propeller” Dinamica Verticale from 2013, along with a map from the early 1980s from the series Dechirages. Instead, Nunzio displays three never-before-seen works: in addition to a map made for the show, the artist presents a large burned wooden column of intense black, plus a work with lead on wood that stands out for its silent opaqueness and soft materials. Instead, Giovanni Termini presents a cement sculpture from 2015 titled Tentativo di ripresa, and Stretta all’angolo, also from 2015, a work in steel and neon that expands across the gallery and which seems to lean and comply with the needs of the sculpture, which irreversibly transforms it and modifies its perception

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