The transition from winter to spring this year heralded an encounter at Galleria Il Ponte with the sculptures of Mauro Staccioli (Volterra 1937 – Milan 2018), an artist whose work spans two centuries, here represented through works dating from the 1980s to the early 2000s. The exhibition, curated by Caterina Martinelli, offers a close view of his artistic production. Staccioli is better known for his monumental installations than for the later, smaller-scale works that today form the core of the Staccioli Archive in Volterra, alongside his writings, notes and projects. His work is conceived in relation to a specific site, free from representation and narrative, yet harmoniously integrated into the times and contexts it traverses.
Mauro Staccioli, “A single sign can change a place”, 2026, installation view, photo by Ela Bialkowska, courtesy Galleria Il Ponte, Florence
The gradual transition from the predominantly physical and semantically incisive interventions from the 1970s to the later structural minimalism reveals a consistent logic, visible in the sequence of curves, arches, rings and elliptical forms through which Staccioli modulates space. The maquettes, despite their lightness, retain the intentionality of his “sign-sculptures”: to occupy a site without overwhelming it and to engage the observer within a subtle, non-imposed temporality. Volumes and essential geometries mark the scene without wounding it. In this way, the exhibition reveals how Staccioli integrates visual perception and manual action with precision and consistency within his ethical approach to form. Even in the choice of industrial materials, such as cement and Corten steel, the sculptures appear disciplined. Their form originates from measurement and direct engagement with the characteristics of the site in which they are placed. In their stillness, the sculptures seem to lend the space a deep, slow breath, inhabiting it in a state of permanent quiet.
Mauro Staccioli, “Equal and opposite”, 2004, plastered wood and grey concrete, 290 x 310 x 55 cm, photo by Ela Bialkowska, courtesy Galleria Il Ponte, Florence
The wooden structure Uguale e contrario (Equal and opposite), 2004, resembles a taut string on the verge of vibrating. It expresses the boundary between order and rupture, the tension of instruments whose curvature sustains sound, arising from the balance between force and control. The angles connecting it to the floor and walls align the form in harmony with the space. The cement coating reinforces this impression and gives the work a sheen akin to that of steel. Obliquely positioned, Ellipse (2010) and Rome 2011 (2011) stand resilient against the white background. Their orange patina creates a narrative resonance with the oxidized steel, beyond purely aesthetic considerations. The earthy tones and circular forms trace back to their original matrices, harmonized with the passing seasons. The transformation of the surface due to exposure to the atmosphere is the natural response of the material to the rhythm of the environment, reflecting a method aimed at maintaining close continuity between vision and action. The transformation of the surface due to exposure to the atmosphere is the natural response of the material to the rhythm of the environment, reflecting a method aimed at maintaining close continuity between vision and action.
Mauro Staccioli, “Lungarno”, 2007, corten steel on chestnut wood base, 18 x 130 x 12 cm, signed, dated and numbered by the artist on the metal, photo by Ela Bialkowska, courtesy Galleria Il Ponte
Walking among the works, one perceives how variations in thickness shape their character. Some possess a more compact, grounded presence; others are thin enough to avoid forming solid masses. Others appear almost as tests of balance: too thick and the form becomes authoritative; too thin and it risks appearing merely illustrative. Equilibrium is found at the precise point where the steel resists tension without imposing itself. The constant feature in these spatial indicators is their completion through the proximity of the body. Soft lines invite the gaze to follow beyond the profiles of the ellipses, tracing the suspended curves of San Casciano (2006) and Lungarno (2007). Through the alignment of elements and the modulation of planes, Staccioli creates a depth of field that encourages the observer to measure space through the body. The experience thus emerges from movement, without being imposed. From a controlled oscillation emerge the crescents displayed on the lower level, Untitled (1993): non-violent blades in red cement, placed to delimit, conceptually transforming the space without breaking it. Their edges outline thin slabs of rust-coloured steel assembled into a single solid with precise lines, whose lightness springs from the direction perceived by the eye.
Mauro Staccioli, “A single sign can change a place”, 2026, installation view, photo by Ela Bialkowska, courtesy Galleria Il Ponte, Florence
Mauro Staccioli’s sculptures act as spatial markers of an intentional, minimal relationship between humans and the environment. The artist engages with natural landscapes, public areas and existing architecture, creating installations that interact with different horizons and with the paths of those who encounter them. Consistently, these structures, designed around limits rather than volumes, integrate quietly into the contemporary cultural landscape, committed to preserving the connection between people and nature. In this pursuit of non-expressive form, characteristic of the late twentieth century, emerges a tendency to establish a more direct, non-rhetorical relationship between artwork, space and life.
Info:
Mauro Staccioli. Basta un segno per cambiare un luogo (A single sign can change a place)
30/01/2026 – 24/04/2026
Galleria Il Ponte
via di Mezzo 42/b, Firenze
www.galleriailponte.com
Chantal Gisi is a writer and translator, holding a Master’s degree in Modern European and American Languages and Literatures from Florence. For Juliet, she explores the connections between art, literature, and history, with a keen awareness of the present.
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