Calzolari's work is the least repetitive and predictable to be found in the art of the past fifty years. Similarly, his activity cannot be linked to preconceived schemes. For him art is a springboard towards transformation, making use of ephemeral and transient materials.
Most recently a dialogue with history has become more pressing, a development of his aim of "creating meetings" which he had already spoken of in his 1969 essay La casa ideale. The 2002 show at the Studio la Città was full of surprises: tables with objects floating in water and gold, white, and black monochrome paintings; an electric train bearing a saucepan of boiling soup and sheets of paper blackened by candle-smoke; an installation with clothes dancing in midair born aloft by clusters of balloons. Serenely variable modulations: dance, sculpture, and performance were led to new syntheses. (see biography)
Senza Titolo – 1973
lead, iron plate, candle
95 x 103 x 16 cm
zoom
Senza Titolo – 1969
lead, neon, cooling system, fridge engine, transformer
227 x 208 x 100 cm
zoom
Senza Titolo (Gravure Noire) – 1994
engraving on paper pasted on a spring, engine, stick and plate on wood, glass and artificial calla lily,
192 x 350 cm
zoom
Tiara IV – 2007
frame with canvas painted in milk tempera, iron, electric engine, linen, gold pin, eggs
279 x 103 x 58 cm
zoom
Pier Paolo Calzolari, Fausto Melotti, Michelangelo Pistoletto – 2004
Installation view, Studio la Città – Verona
zoom
Pier Paolo Calzolari – 2002
Installation view, Studio la Città – Verona
Photo by Luca Carrà
zoom
