p. 1 Spazio di luce (Space of Light), 2008 bronze, gold 8 elements, total dimensions 250×2000×180 cm circa Forte di Belvedere, Florence 2014 © Archivio Penone pp. 2-5 Spazio di luce (Space of Light), 2008 bronze, gold 8 elements, total dimensions 250×2000×180 cm circa Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori pp. 6-7 Idee di pietra - Ciliegio (Ideas of Stone - Cherry), 2011 bronze, river stones 1370×400×400 cm Forte di Belvedere, Florence 2014 Idee di pietra - 1532 kg di luce (Ideas of Stone - 1532 Kg of Light), 2010 bronze, river stones total dimensions 1000×520×540 cm circa Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori p. 8 Idee di pietra - 1532 kg di luce (Ideas of Stone - 1532 Kg of Light), 2010 bronze, river stones total dimensions 1000×520×540 cm circa Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori p. 9 Idee di pietra - 1532 kg di luce (Ideas of Stone - 1532 Kg of Light), 2010 bronze, river stones total dimensions 1000×520×540 cm circa Forte di Belvedere, Florence 2014 © Archivio Penone pp. 10-11 Idee di pietra - Ciliegio (Ideas of Stone - Cherry), 2011 bronze, river stones 1370×400×400 cm Forte di Belvedere, Florence 2014 Idee di pietra - 1532 kg di luce (Ideas of Stone - 1532 Kg of Light), 2010 bronze, river stones total dimensions 1000×520×540 cm circa Forte di Belvedere, Florence 2014 © Archivio Penone
pp. 12-13 In bilico (In Balance), 2012 bronze, river stone 1000×500×200 cm Forte di Belvedere, Florence 2014 © Archivio Penone pp. 14-15 In bilico (In Balance), 2012 bronze, river stone 1000×500×200 cm Forte di Belvedere, Florence 2014 Albero folgorato (Lightning-struck Tree), 2012 bronze, gold 1000×200×200 cm Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori p. 16 Albero folgorato (Lightning-struck Tree), 2012 bronze, gold 1000×200×200 cm Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori p. 17 Albero folgorato (Lightning-struck Tree), 2012 bronze, gold 1000×200×200 cm Forte di Belvedere, Florence 2014 © Archivio Penone
p. 22 Le foglie delle radici (The Leaves of the Roots), 2011 bronze, water, vegetation, earth 944×260×300 cm Forte di Belvedere, Florence 2014 © Archivio Penone p. 23 Le foglie delle radici (The Leaves of the Roots), 2011 bronze, water, vegetation, earth 944×260×300 cm Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori p. 24 Anatomia (Anatomy), 2011 white Carrara marble 305×220×175 cm Forte di Belvedere, Florence 2014 © Archivio Penone p. 25 Anatomia (Anatomy), 2011 white Carrara marble 305×220×175 cm Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori
pp. 18, 19 Albero folgorato (Lightning-struck Tree), 2012 bronze, gold 1000×200×200 cm Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori
pp. 26, 27 Anatomia (Anatomy), 2011 white Carrara marble 310×172×156 cm Giardino di Boboli, Florence 2014 Pelle di marmo (Marble Skin), 2001 white Carrara marble 5 elements 235×120×5 cm each Giardino di Boboli, Florence 2014 © Pietro Savorelli e Benedetta Gori
p. 20 Albero folgorato (Lightning-struck Tree), 2012 bronze, gold 1000×200×200 cm Forte di Belvedere, Florence 2014 © Archivio Penone
pp. 28-29 Anatomia (Anatomy), 2011 white Carrara marble 310×172×156 cm Giardino di Boboli, Florence 2014 © Pietro Savorelli e Benedetta Gori
p. 21 Le foglie delle radici (The Leaves of the Roots), 2011 bronze, water, vegetation, earth 944×260×300 cm Forte di Belvedere, Florence 2014 © Pietro Savorelli e Benedetta Gori
pp. 30-35 Luce e ombra (Light and Shadow), 2011 bronze 1200×300×300 cm Giardino di Boboli, Florence 2014 © Pietro Savorelli e Benedetta Gori
pp. 36-39 Sentiero 6 (Pathway 6), 1986 bronze dimensions of the dismantled work: 175×52×178 cm Giardino di Boboli, Florence 2014 © Pietro Savorelli e Benedetta Gori pp. 40-43 Biforcazione (Bifurcation), 1991 bronze, water 233×360×1060 cm Giardino di Boboli, Florence 2014 © Pietro Savorelli e Benedetta Gori pp. 44-47 La logica del vegetale (Plant Logic), 2012 bronze, trees total length 17 m Giardino di Boboli, Florence 2014 © Pietro Savorelli e Benedetta Gori
Florence, Forte di Belvedere - Giardino di Boboli 5 July - 5 October 2014
on the front cover: Giuseppe Penone, Albero Folgorato, 2012 © Archivio Penone on the back cover: Giuseppe Penone, Luce e Ombra, 2011 Florence, Italy, Giardino di Boboli 2014 © Pietro Savorelli
Catalogue edited by Arabella Natalini and Sergio Risaliti Editorial project Forma Edizioni srl, Firenze, Italy redazione@formaedizioni.it www.formaedizioni.it Editorial production Archea Associati
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under the aegis of
© Giuseppe Penone by SIAE 2014 © Mario Merz by SIAE 2014 © Florian Kleinefenn by SIAE 2014 drawings © Archivio Penone texts © the authors photographs © Archivio Penone - p. 58, 86, 90-91, 106, 111, 120, 146-160, 162-169, 172-192 © Claudio Abate - p. 110 © DeAgostini Picture Library/Scala, Firenze - p. 65, 72 © Foto Opera Metropolitana Siena/Scala, Firenze - p. 78 © Foto Scala, Firenze - p. 60, 62 © Foto Scala, Firenze/BPK, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin - p. 75 © Foto Scala, Firenze/Luciano Romano - on loan from Ministry of Cultural Heritage and Activities - p. 76 © Henk Geraedts - p. 112-113 © James Ewing Photography - p. 96, 101 © Paolo Mussat Sartor - p. 108-109 © Pietro Savorelli, Benedetta Gori - p. 1-47 © Serge Domingie - p. 63 © Shigeo Chiba - p. 161 © Florian Kleinefenn - p. 171 © Kurt Wiss - p. 170 The editor is available to copyright holders for any questions about unidentified iconographic sources.
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© 2014 Forma Edizioni srl, Firenze, Italy All rights reserved, no part of this publication may be reproduced in any form or by any means without the prior permission in writing of the publisher. First edition: June 2014 ISBN: 978-88-96780-67-1
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Florence, Forte di Belvedere - Giardino di Boboli 5 July - 5 October 2014
A project by Sergio Risaliti curated by Arabella Natalini and Sergio Risaliti Promoted by Comune di Firenze, Assessorato alla Cultura e Contemporaneità in collaboration with Soprintendenza Speciale per i Beni Storici, Artistici ed Etnoantropologici e per il Polo Museale della città di Firenze
The curators would like to thank Giuseppe Penone for his helpful, patient and generous involvement in this project and all those who have made this exhibition possible Special thanks to Dina and Ruggero Penone
Implementation and organization Once - Extraordinary Events
We would also like to thank
Project management Federica Rotondo
Once - Extraordinary Events Archea Associati Forma Edizioni
Administration staff Once - Extraordinary Events Adele Ippolito, Avery Lemons, Chiara Mascellani, Eleonora Perra Exhibition technical director Gabriele Fratini Exhibition construction and fabrication Fonderia Battaglia, Fonderia Del Chiaro, Gruppo Caf, Open, Sidicopy, Tecnoconference Safety and coordination plan Giovanni Corsi Safety Management Maurizio Rossi - Seven Srl Lighting Enegan Visual communication Archea Associati Exhibition graphic design Raffaella Cristofori and Carlo Tizzi - Studio RCCT Video Production Francesco Fei Insurance Ciaccio Broker Transport Art in Dep, Autotrasporti Maggi Alessandro Press office Civita - Opera Laboratori Fiorentini Davis&Franceschini
Cristina Acidini, Alessandra Acocella, Marco Agnoletti, Laura Andreini, Flavio Arensi, Lucia Bartoli, Manuele Braghero, Michael Brenson, Riccardo Bruscagli, Laurent Busine, Giovanni Carta, Marco Casamonti, Matteo Ceriana, Rita Corsini, Emanuele Crocetti, Lucia de Siervo, Elisa Di Lupo, Serge Domingie, Rossella Donati, Francesco Fei, Marco Fossi, Paolo Frullini, Giovanni Gallettini, Sylvie Garcia Bonas, Sergio Givone, Silvia Gozzi, Francesca Grifoni, Daniela Lancioni, Mauro Linari, Valeria Lisa, Elena Magini, Francesco Magnetti, Alessandra Marino, Claudia Montani, Leonardo Monti, Dario Nardella, Niccolò Natali, Antonella Nicola, Debora Novelli, Silvia Orsi Bertolini, Alfred Pacquement, Massimo Paolieri, Roberta Papini, Silvia Penna, Studio RCCT, Matteo Renzi, Alberto Rossetti, Federica Rotondo, Monica Sarti, Pietro Savorelli, Vincenzo Vaccaro, Carmela Valdevies, Stefano Velotti, Fulvia Zeuli the sponsors and companies that have contributed to the exhibition
Contents
55
Presentation Dario Nardella
56
Introduction Cristina Acidini
58
Belvedere con Pitti and Prospettiva vegetale Sergio Risaliti
66 Logic of the material. A conversation with Giuseppe Penone Arabella Natalini – Giuseppe Penone
[continued on pages 80, 92, 102, 114, 122]
72
Notes on Giuseppe Penone at Boboli Matteo Ceriana
86
Ideas of Sculpture Alfred Pacquement
96
Tree Aria Michael Brenson
106
The experience of drawing Flavio Arensi
120 Luce e ombra Laurent Busine
Prospettiva vegetale. Works 126 Anatomie and Pelle di marmo Alessandra Acocella 128 Sentieri Alessandra Acocella Alberi 130 Elena Magini
Appendices 134
Biographical Notes Daniela Lancioni
136
Collective Exhibitions
140
Personal Exhibitions
142
Selected Bibliography
58
Belvedere con Pitti and Prospettiva vegetale Sergio Risaliti
Deep down towards a light told: the branches descend imagining flowerings, they drink a sap described, their bark hardened by the wait (and if cut they open in a white page) Alberi (Trees), Elisa Biagini, 2014
L’ombra del bronzo (The Shadow of Bronze), 2002 bronze, vegetation 2 elements 1600×ø30 cm circa and 175×ø15-30 cm circa (photographed during the exhibition in Florence, Forte di Belvedere 2003) © Archivio Penone
A painting by Iustus van Utens dating sometime between 1599 and 1609 – belonging to the series of lunettes dedicated to the Medici Gardens – features a bird’s eye view of Palazzo Pitti with the Boboli Gardens and Forte di Belvedere. The Florentine diarist Agostino Lapi reported on October 28, 1590: “the first stone was laid of the foundation of the new wall and the marvelous fortress above Porta San Giorgio... the main inventors and architects in the Pitti garden were Sir Giovanni, son of the Grand Duke Cosimo, and the brilliant Sir Bernardo Buontalenti.” For his formidable fortress that would “guard over the city and the palace” the Gran Duke Ferdinando turned to two architects who were experts in fortification: Bernardo Buontalenti and Don Giovanni de’ Medici, who was a half-brother of the Grand Duke himself. But in the lunette, the theme of defense is tempered by a landscape that distances itself from the spectre of war, and the thought of defense. Here it’s Nature that besieges the city of Brunelleschi and Masaccio, of Botticelli and Michelangelo. Artifice humanizes the environment and all creation, in the language of a Renaissance open to magic and alchemy. While reflecting on this urban plan from the golden age of Ferdinando de’ Medici (Belveder con Pitti), today we can contemplate the green spaces of the Boboli gardens and those more austere spaces of Forte di Belvedere as a continuum not just in Utens’ panoptic view, but through Giuseppe Penone’s exceptional sculptural installation, Prospettiva vegetale: an ensemble of works in bronze and marble deployed in such a way as to effectively meld the garden with the fortress, the palace to Buontalenti’s palazzina. Bronze trees and blocks of Carrara marble trace an artistic path where the natural world and sculptural forms meld together and relate one another, underscoring a rigorous yet sensitive juxtaposition of the formative processes of nature with the creative processes of art. Such a project has no precedent in recent history: no artist was granted such a privilege, none dared such a vision, or designed such an itinerary. This is the first time that an artist has installed his sculptures at Forte di Belvedere and the Boboli gardens contemporaneously. The path defined by the works’ various placements offers a multiplicity of views and perspectives, of sights and panoramas
onto the contexts of both architecture and landscape, against the backdrop of Florence and its architectural patrimony. These new vistas, adding – literally – new ‘belverede’, strip the Fortezza di San Giorgio of its stereotyped role as the single scenic outlook (almost a ‘balcony’), over the the city of Arnolfo, Giotto, Brunelleschi, Alberti, Michelangelo and Vasari. From Penone’s Prospettiva vegetale Forte di Belvedere is no longer the only stage atop Florence for modern and contemporary art, the only frame fostering a dialogue between past and present. Penone has placed some of his works in locations that become unusual thresholds of observation: for example, one of the two terraces adjacent to the Kaffeehaus, and the broad way running between the Grotta del Buontalenti and the Amphitheater. Yet Penone’s works do not disappear against the marvelous grandiosity of the past and the geometries and fantasy of its architecture. His marble Anatomie and huge bronze trees, ripped by lightning, gold-plated, or with river stones set among their branches, forcefully declare their plastic presence and the idea that forged them. Following in the footsteps of Henry Moore’s anthropomorphic forms in his historic exhibit on the bastions of Forte di Belvedere in the summer of 1972, and Mario Merz’s table in pietra serena with fruit, created for the exhibition “Belvedere dell’arte” in 2003, also on the terraces of the fortress, it is surely Penone’s line of bronze “trees” that sets a paradigm for a new perception of the skyline of Florence, which here coincides with the skyline of the Renaissance. Penone organizes a line of attack and not defense, restoring myths and sacral perceptions to contemporary humanity in an authentic dialogue with nature and the landscape. Looking up from the point of view of Penone’s installations in the Medici garden, the Palazzina del Belvedere appears more like a villa than a fortress. For example, from the Amphitheater, where the artists has placed a bronze tree with gold and granite elements (Luce e ombra, 2014), and also from one of the highest levels of the garden, where the visitor is met by Biforcazione, a bronze trunk with a cast of the artist’s right arm grafted to it, functioning as a drainage basin for a flow of water.
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La logica della materia Conversazione con Giuseppe Penone
Disegni tratti da Il peso delle foglie sui rami, 2005-2012 sketchbook, inchiostro di china su carta giapponese, 42 pagine, 15×12 cm ciascuna © Archivio Penone
Arabella Natalini Mi piacerebbe iniziare la nostra conversazione a partire dal tuo rapporto profondo con i materiali, non seguendo quindi un ordine cronologico, ma piuttosto una “logica della materia”, per utilizzare un’espressione a cui tu stesso hai fatto spesso riferimento. Negli anni hai sviluppato e arricchito il tuo lavoro restando sempre radicato in un profondo interesse per l’arte e per la natura, una precisa volontà di ricerca che ti ha portato spesso a sottolineare le affinità tra i processi creativi e i processi di crescita naturale. Hai perseguito questa ricerca tenacemente, con gli strumenti della scultura e con un’attenzione profonda alla materia che hai impiegato di volta in volta. Le tue prime opere erano realizzate nella natura, molto spesso nei boschi del tuo paese, utilizzando quindi i materiali che questi luoghi ti mettevano a disposizione. Erano forse gli strumenti più congeniali per dar forma ai tuoi interrogativi sull’esistenza, sull’azione del tempo, sulla relazione fra organico e inorganico, tra natura e arte e, in particolare, tra natura e scultura. A distanza di anni, dove prendono forma oggi le tue idee? Giuseppe Penone Le mie idee nascono da una riflessione sulla scultura. Non è un lavoro che considera la materia come un qualcosa di staccato e con cui bisogna relazionarsi. È una riflessione sulla realtà delle cose. Si può interpretare la nostra vita come un’azione di scultura continua: questo è il punto di partenza del lavoro che ho iniziato nel 1968. In una mia prima opera ho cercato di evidenziare dei propositi di scultura elementari, era l’impronta di una mano, che di solito può essere registrata in un pugno di creta… Io l’ho realizzata utilizzando la crescita del vegetale come materia plasmabile; in quel caso mi sono posto in relazione con la natura, ma ho compiuto questo tipo di azione anche con materiali diversi. Il rapporto con la natura, verso la fine degli anni ’60, era in un certo senso abbastanza inconsueto per quanto riguardava l’arte. Tutta l’arte del Novecento, infatti, è un’arte che si è sviluppata nell’atelier, in un contesto urbano, in una dimensione completamente cittadina. L’idea di riportare, di ripresentare e di reintrodurre lo spazio aperto nasce in quegli anni, e successivamente ha avuto uno sviluppo. Era una visione delle cose molto più aperta e meno vincolata all’idea di un progresso dell’opera d’arte, presente in quegli anni, per cui da un’opera ne nasce un’altra per affinità o per contrasto, che è un’idea veramente novecentesca, un’idea delle avanguardie. N. Sì certo, le avanguardie storiche avevano estromesso quasi completamente la natura dalla riflessione artistica a partire dagli anni ‘10 del secolo scorso. Il recupero di questo rapporto ha aperto poi a una prassi di lavoro inedita, rispondendo a nuove istanze che si sviluppano proprio negli anni a cui facevi riferimento. Mi chiedevo se il tuo rapporto 67
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Ideas of Sculpture Alfred Pacquement
Le foglie delle radici (The Leaves of the Roots), 2011 bronze, water, vegetation, soil 944×260×300 cm, Château de Versailles 2013 © Archivio Penone
In 1968, Giuseppe Penone, who was barely 20 years old at the time, drew a Progetto per il giardino di pietra. In this imaginary garden, which is in fact more reminiscent of a forest, trees are associated with large stones that lean against them and force them to bend and touch the ground, or appear instead among their branches. Antique columns are also confronted with natural elements, in a layout that combines the vegetal and the mineral, and calls to mind the “follies” of the classic era. One could go as far as thinking that this premonitory design, which announces so many aspects of the artist’s ulterior work, may also suggest baroque gardens; and even, if we keep extrapolating further, the tree groves in the Versailles park, which also combine architecture and vegetation… This would obviously be an extreme interpretation, born of a somewhat gratuitous imagination, but one cannot help suggesting it, as Penone has been invited to set up a temporary installation of some of his sculptures in this most prestigious site. The first accomplished works of an artist often shed some light on his or her entire vision. They lay the foundation for his/hers creative process, and determine its main orientations. Rare are the artists who do not follow that path. The case of Penone is particular, inasmuch as the artist first lived outside any advanced cultural environment and trained himself in contact with nature, which was the territory he explored in his first pieces. It is true that, when he was very young, Penone tried his hand at sculpture, showing a predilection for volumes. But the experiments he conducted in the forest, shielded from the public eye and documented only by photographic records, were the real trigger that launched the career of this remarkable, highly precocious artist, who was mostly self-taught. Penone’s intuition, as conveyed by these documents, anticipated his entire work as a sculptor. Everything is there. The materials: wood, stone, water; the seminal gestures: touching, fostering growth, measuring the body. With a few, extremely modest interventions, which, as Penone explains, are nothing extraordinary in the farming world, where similar gestures happen naturally in the woods, the artist put together a remarkably autonomous vocabulary, which determined the rest of his approach. In this series of projects, entitled Alpi
marittime, (their generic title stresses the importance of the context they belong to), the artist’s offerings are remarkably simple: intertwining branches, stopping the tree’s growth at a determined point by holding it by his hand, inserting a stone between the branches, putting the stone closer to the tree, inscribing the dimensions of one’s body in a stream, etc. Penone came to the idea of sculpture in his own, personal way. Sustained by his own history, rooted in his family background, he developed his artistic project in its most intimate, profound dimension. He also reacted in his own way, as did other artists from his generation, against consumerist society, and found the appropriate response in the natural materials he decided to use, offering a rich potentiality to his conception of sculpture. Wood from the forest, tree leaves, stones eroded by river’s water – they all became his materials, as did fragments from the body, such as nails, fingerprints, skin, eyelids, breath exhaled from the lungs, which united the elements provided by nature with those coming from human intervention. “The garden begins when a man steps onto the ground and walks into the space of the vegetal, the mineral. [...] Walking around the garden always means embarking on a self-discovery journey, experiencing a revelation [...].”1 Penone has often worked in controlled natural settings, such as the sculpture parks in Otterlo or Kerguéhennec. His most accomplished work in that regard, until what he did in Versailles, is the impressive group of sculptures he put together at the Palazzo Reale of Venaria. Not only did Penone select an ensemble of bronze, stone and marble pieces, which is emblematic of his approach to outdoor sculpture; he also designed their layout, following a geometric model inspired by the original garden, conceived in the 17th century. While walking around, the visitor stumbles upon sculptures that shoot up to the sky, some made of tree imprints in bronze, others lying flat, always exploring the same theme and using the same material, the greenish-brown of the bronze, which almost mimics the real color of the trees. By contrast, the whiteness of the marble is the substance of Anatomie, in which the sculptor’s chisel follows the veins of the material, reminiscent of a bloodstream, while the “marble skin”, spread out
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This volume was printed in June 2014, by Forma Edizioni, Italy
p. 146 Alpi Marittime. Continuerà a crescere tranne che in quel punto (Maritime Alps. It will continue to grow except at that point), 1968 photographic documentation of the action, Garessio 1968 © Archivio Penone p. 147 Alpi Marittime. Continuerà a crescere tranne che in quel punto (Maritime Alps. It will continue to grow except at that point), 1968 photographic documentation of the action, Garessio 1978 © Archivio Penone p. 148 Alpi Marittime. I miei anni collegati da un filo di rame (Maritime Alps. My Years Connected by a Copper Wire), 1968 photographic documentation of the action, Garessio 1968 © Archivio Penone p. 149 Alpi Marittime. I miei anni collegati da un filo di rame (Maritime Alps. My Years Connected by a Copper Wire), 1968 photographic documentation of the action, Garessio 1978 © Archivio Penone pp. 150, 151 Albero e pietra (Tree and Stone), 1969 photographic documentation of the action, Garessio 1969 © Archivio Penone p. 152 Alpi Marittime. Ho intrecciato tre alberi (Maritime Alps. I Have Interwoven Three Trees), 1968 © Archivio Penone p. 153 Ramo parallelepipedo. Omaggio a Malevich (Parallelepiped Branch. Tribute to Malevich), 1969 photographic documentation of the action, Garessio 1969 © Archivio Penone pp. 154, 155 Alpi Marittime. La mia altezza, la lunghezza delle mie braccia, il mio spessore in un ruscello (Maritime Alps. My height, the length of my arms, my width in a stream), 1968 photographic documentation of the action, Garessio 1968 © Archivio Penone pp. 156, 157 Pietre e alberi (Stones and Trees), 1969 photographic documentation of the action, Garessio 1969 © Archivio Penone
p. 158-159 Tre muri e pelle del mare (Three Walls and Skin of the Sea), 2005-2006 stone, bronze, steel; black terracotta dimensions determined by the exhibition space permanent installation, garden of a private house, Egina © Archivio Penone p. 160 Zona d’ombra (Shadow Zone), 1969 photographic documentation of the action, Garessio 1969 © Archivio Penone p. 161 Pietra e albero (Stone and Tree), 1987 photographic documentation of the installation, 2nd Biennale, Ushimado 1987 © Shigeo Chiba p. 162-163 Les pierres des arbre (The Stones of the Tree), 1968-2010 stones, trees permanent installation, MAC’s Musée des Arts Contemporains de la Communauté Française de Belgique au Grand-Hornu, Hornu coll. MAC’s Musée des Arts Contemporains de la Communauté Française de Belgique au Grand-Hornu, Hornu © Archivio Penone pp. 164, 165 Pietra, corda, albero, sole / Pietra, corda, albero, pioggia (Stone, cord, tree, sun / Stone, cord, tree, rain), 1968 photographic documentation of the action, Garessio 1968 © Archivio Penone pp. 166-167, 168-169 Albero delle vocali (Tree of the Vowels), 1999-2000 bronze, vegetation 450×3000×1200 cm permanent installation, Jardin des Tuileries, Paris coll. Musée du Louvre, Paris © Archivio Penone p. 170 Gesti vegetali (Vegetation Gestures), 1983 bronze, vegetation photographic documentation of the installation, Merian Park, Basel 1984 © Kurt Wiss p. 171 Sentiero 3 (Sentier de charme) (Path 3 [Sentier de charme]), 1986 bronze, vegetation 180×60×500 cm permanent installation, Parc des scultpures. Domaine de Kerguéhennec. Bignan coll. FRAC Bretagne, Rennes © Florian Kleinefenn
p. 172-173 Gesti vegetali (Vegetation Gestures), 1984 bronze, vegetation photographic documentation of the installation, wood near San Raffaele Cimena © Archivio Penone p. 174 Albero di 11 metri (11-meter Tree), 1975 fir wood 1101×20.5×12 cm photographic documentation of the installation, Garessio 1975 © Archivio Penone p. 175 Albero di 11 metri (11-meter Tree), 1975 fir wood 1101×20.5×12 cm © Archivio Penone pp. 176, 177 Cedro di Versailles (Cedar of Versailles), 2000-2003 cedar wood 630×ø160 cm photographic documentation of the installation, artist’s study, Turin 2000 © Archivio Penone p. 178-179 Cedro di Versailles (Cedar of Versailles), 2000-2003 cedar wood 630×ø160 cm detail © Archivio Penone p. 180 Elevazione (Elevation), 2001 bronze, alders 1000×600×600 cm circa permanent installation, Centrum, Dijkzigt, Westersingel, Rotterdam coll. Centrum, Dijkzigt, Westersingel, Rotterdam © Archivio Penone p. 181 Elevazione (Elevation), 2011 bronze, trees 1000×600×600 cm circa photographic documentation of the installation, Château de Versailles 2013 © Archivio Penone p. 182 Respirare l’ombra - scultura (Breathing the Shadow Sculpture), 1997-1999 bronze, laurel plants 242×50×30 cm © Archivio Penone p. 183 Triplice (Triple), 2011 bronze, river stones 900×700×400 cm photographic documentation of the installation, Château de Versailles 2013 © Archivio Penone
p. 184-185 Sigillo (Seal), 2012 white Carrara marble cylinder ø47.5×303 cm, total dimensions from ground 1980×405 cm photographic documentation of the installation, Château de Versailles 2013 © Archivio Penone pp. 186, 187 Tra scorza e scorza (Between Bark and Bark), 2003-2007 bronze, linden 1030×430×280 cm permanent installation, Giardino delle sculture fluide, Parco Basso della Reggia di Venaria Reale (Turin) - Work executed by Castello di Rivoli Museo d’Arte Contemporanea with the support of Compagnia di San Paolo and the Region of Piedmont © Archivio Penone p. 188-189 Disegno d’acqua (Drawing of Water), 2003-2007 black granite, Verde Alpi marble, Volga Blu granite, water, timed air flows 60×2702×3450 cm permanent installation, Giardino delle sculture fluide, Parco Basso della Reggia di Venaria Reale (Turin) - Work executed by Castello di Rivoli Museo d’Arte Contemporanea with the support of Compagnia di San Paolo and the Region of Piedmont © Archivio Penone p. 190-191 Idee di pietra (Ideas of Stone), 2003 bronze, river stone 830×250×220 cm circa photographic documentation of the installation, dOCUMENTA (13), Kassel 2010-2012 © Archivio Penone p. 192 Idee di pietra (Ideas of Stone), 2004 bronze, river stones 1270×550×500 cm photographic documentation of the installation, Villa Medici, Rome 2008 © Archivio Penone
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