Where and when
The maximum with the minimum, this is the title of the three sculptures that Sergio Limonta created for the cloister of the Museum, which not without irony defines a bit of his working method. In fact, we must look at these three sculptures as as many, large drawings solidified in space: there is the bulk of the sculpted work but there is no mass, there is no body, which can only be imagined since we see only the profile that outlines it.
Monday – Sunday
The Grafts project of the Museo Novecento is back with a site-specific intervention, a series of “contemporary grafts” which, from time to time, give a new shape to the spaces of the cloister and the external loggia of the former Leopoldine complex.
The sculptor does not model but draws; creating a maquette which a mechanical process then amplifies in the desired dimensions, also changing the materials used. Such a process does not reach the image but creates a framework that outlines a void, opening however to the physical perception of it; the work can be crossed if desired, it can be “lived”.
There is nothing transgressive in this procedure, Limonta is connected to a noble genealogy, which sees great artists engage in a practice of deconstruction, dissection, lightening, suspension of the sculpted work to make it interact with the space in a more meaningful way, more articulated and multifaceted than what happens with the traditional “all-round” placed in the center of an exhibition hall. Fausto Melotti, Alexander Calder, Robert Morris, Luciano Fabro, Gilberto Zorio, Eliseo Mattiacci are just some of the protagonists that we could mention in this sense.
A common trait between similar precedents and the younger Limonta is the choice to make the constructive links of the sculpture fully visible, the way in which it is built, in which its components are assembled. “The work must be shown to the observer without pretense – explains Giorgio Verzotti, curator of the installations – Of course, it is a question of adopting the language of sculpture to bring it to its limits, beyond which the specificity of the language itself vanishes, but Limonta intends to stay within the discipline, and declares it openly, while taking its postulates to their extreme consequences and for this very reason confirming their validity“.
“All my works – explains Sergio Limonta – and all the materials I use in what I do are always taken in their nature and not modified, used but not modified. So there are never materials of which the origin is not understood or the processing is not understood. I always remember a phrase by Luciano Fabro who said “to clarify”, intended to the nth degree, linked precisely to a relationship between him as an artist and the arts and art and perhaps also to his time. And you also make clarity with a work that in all its aspects shows itself without artifice. All the events that converge in that episode that we then call “opera” are already relevant and surprising, which in fact then offers itself to everyone’s reading but always keeps a part of it that may not be understood, which remains secret. I think that the art process has very important intuitive aspects, otherwise it becomes journalism”.