Copyright Paolo Da Re
“Abstractionism was a form to desire, to pursue, because it freed us from the past and it freed us totally. But how can we completely forget our history, our culture, our environment, something that is ethnic even more so than it is aesthetic”
The aim of the Piero Cattaneo Association, established on 14 January 2010 as a non-profit organization, is to promote the renown of Piero Cattaneo (Bergamo, 1929–2003), an artist known for his lively creativity. Through his research, he made a name for himself on the arts scene of the 20th century in various fields, ranging from sculpture – his first expressive medium – to medal design and illustration.
We’re asking you to believe in a project that makes sculpture the centre of its research, with a specific focus on Italian sculpture, the history of which has yet to be written and appreciated. The quality of twentieth-century Italian sculpture has no parallels in other countries in terms of the number of high-level masters and because of the expressive intensity of the works of each artist (Rossana Bossaglia 2002)…
The Archives, the legacy of Cattaneo’s heirs, are part of a private entity directed by the artist’s daughter, the art historian Marcella Cattaneo. Established in 2003, the year the sculptor died, the Archives hold a broad array of materials, ranging from graphic works to preparatory drawings for sculptures, medal design, photographs and the artist’s writings.
“It is a rushing flow of ancient stylistic elements that vary in origin and come from different eras. And yet they merge effectively in works that have the fullness of particular presences. Indeed, I would say they have a uniqueness that echoes deep in the soul, each one with a particular musical motif of rich counterpoint.” Giorgio Kaisserlian
Alongside his sculptural production, as an instrument of communication – even intimate and private – Cattaneo always favoured writing, in the form of both letters and poetry. In his youth he turned to writing as a form of art, capable of embracing his vitalistic drive and uncertain existential transitions, while in his maturity it became a conscious instrument of the affirmation of his ethical choices.