Claudio Pieroni

Studio Bocchi

Claudio Pieroni’s installation here, Pulpito (Pulpit, 1989), was deceptive. At first glance it brought to mind a dialogue between the artwork and the space, as well as the cold, minimal language that characterizes the last generation of Italian artists. But the piece was a trompe l’oeil, like many that Pieroni uses in his work. The large structure (a pulpit in iron supported by imposing columns and topped by a large grating covered with stones) might recall the euphoria of neo-Minimalism, just as the column of metal screens—filled with river stones—might bring to mind both a certain poverismo and elements of Susana Solano’s work. It is equally true that the only reason for the enormous pulpit to exist seemed to be its dissolution in the play of the stones’ outlines, projected on the ceiling of the gallery. In the case of the column, it was the aerial and almost insubstantial grating that

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