A view in becoming
Michelangelo's Forte Belvedere looks like a “spaceship” gliding over Florence and its hills, carrying a load of precious material.
Here, the “overview” of Arnaldo Pomodoro's sculptures provided a thoughtful opportunity to dream about the future, not just to reconstruct the past of works created at different times. The exhibition offered new interpretations that were perhaps unimaginable before. [...]
Now Carlo Orsi's photographs “fix” forever not only the extent of the “exhibition,” but also the dizzying or Brancusian “verticality” of works such as Triad, monumental columns almost close to the city, Movimento di crollo and Colonna recisa trasversalmente, with their Mannerist movement effect, up to Sfera in the sky, which looks like a spaceship.
There is a sense of suspense in all these stunning images, which is not unfamiliar in the artist's sculpture. Consider the peculiarity of the solids and voids in Pietrarubbia, the stillness of Forme del mito, the athletic leap of Omaggio a Boccioni, the radiant luminosity of Grande disco, and Sfera poised on the sloping green.
In the book, the first images depict working days, while the subsequent ones "reconstruct" or rather "suggest" that journey in daylight and night-time light. Cerri has created a visual continuum, perhaps already envisaged by Orsi himself, so unique are the locations and viewpoints of the works.
(Italo Mussa, introduction, in Arnaldo Pomodoro al Forte di Belvedere, De Luca Editore, Rome 1986)
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