Inox
inch 15.69 x 5.91 x 3.15 / cm 40 × 15 × 8
1968
NOTES:
Signed on the base with number: Cod. 68 [71 ca.] 304 Si;
Certificate of authenticity by the artist on photograph.
EDITION:
500 copies
EXHIBITIONS:
1974, Melotti, Galleria d’Arte Il Sole, Bolzano;
1983, Fausto Melotti, Centro d’Arte Santelmo, Salò;
1983, Scheiwiller a Milano 1925-1983. Immagini e documenti, Biblioteca Comunale e Museo di Milano, Milano;
1987, Voglia di scultura, Galleria Gian Ferrari, Milano; 1988, Fausto Melotti, Galleria Il Punto Sette, Busto Arsizio;
2016, Milano, La lune en rodage, Studio Guastalla Arte Moderna e Contemporanea.
LITERATURE:
G. Celant, Melotti. Catalogo generale. Tomo primo. Sculture 1929-1972, Electa, Milano, 1994, pag. 213, n. 1968 30;
Gazzetta di Parma, 8 giugno 1976, pag. 9, ripr.;
Bolaffiarte, a. X, n. 93, novembre 1979, pag. 37, ripr.;
Alto Adige Illustrato, 31 gennaio 1981, pag. 38;
Catalogo nazionale della scultura, n. 4, 1980, pag. 193, ripr,;
Bolaffi. Catalogo della scultura italiana, n. 5, 1981, pag. 129, ripr.
PROVENANCE:
Galleria Morone, Milano
Discover the video of the artwork (right-click on the link and select “open link in another browser window”) https://youtube.com/shorts/VTFJNKYIYBs
The pendulum’s movement
Musical rhythm, lightness, and immateriality are the hallmarks of Fausto Melotti’s work, as seen in these pendulums, where a gentle breeze causes the three elements to move imperceptibly. A student of Adolfo Wildt at the Brera Academy, where Lucio Fontana was his classmate, Melotti shares with these two artists a conceptual approach to art that undoubtedly stems from his earlier scientific studies, and which led Italo Calvino to reveal that he had drawn inspiration from Melotti in Invisible Cities. It is the balance between fullness and emptiness, between stability and instability, that creates the mystery of his works.