The Silence of Plants – Adrian Paci

Adrian Paci, The silence of plants, 2019, Peccioli, Fonte Mazzola Amphitheater

The work of Adrian Paci places the viewer in the position of listening to, contemplating or simply looking at this corner of uncultivated green. An orbitally shaped iron structure, about eight meters long, surrounds a gigantic plant of “Buddleja davidii”, also known as the “butterfly tree”. At the two poles in front of the plant are two seats, for spectators who will have the desire, time and patience to listen to the silence of life.

The work was created for BienNoLo, a temporary, urban, metropolitan, central and peripheral art space contemporaneously. The acronym NoLo indicates the area that extends “north of Piazzale Loreto”, the most creative and multi-ethnic district of Milan.

Paci’s work was installed at the Fonte Mazzola Amphitheater as part of the 11Lune 2019 festival.

More info: Fondazione Peccioliper

Il cielo accanto (The sky beside) by Vittorio Corsini

Vittorio Corsini, The sky beside, 2017, Micro-perforated printing, Peccioli, Via Mazzini

It is a large wall that shows the image of three skies rotated and placed side by side.

As written by Wisława Szymborska: « I don’t have to wait for a clear night, nor raise my head, | to observe the sky. | I have it behind me, on hand and on my eyelids. | The sky wraps me tightly | and lifts me from below. | Even the highest mountains | are no closer to heaven | than the deepest valleys. | Nowhere is there more than in any other place |”.

“The sky beside” welcomes the observer as they enter the town of Peccioli. Three identical modules, arranged in sequence one next to the other, rewrite the landscape by showing a sky with color gradations ranging from white to intense blue. The horizon loses its position in this composition and, turning by 90 degrees, it becomes a sign of openness and encroachment. Thus, the viewer finds themselves enveloped by the movement of color and light, and in this new perspective of eliminated boundaries, individual freedom finds a place.

More info: Archive of Fondazione Peccioliper

Light Mood, Vittorio Corsini at the Multipurpose Center

Vittorio Corsini, Light Mood, 2017, RGB Light Algorithm, Peccioli, Multipurpose Center

The Multipurpose Center is a place of collective meeting, like the boundless internet network, whose immateriality is the aim of Corsini’s transposition. In Light Mood, light is the chosen material, while the colors of this light vary according to the emotions expressed by Twitter users, according to the association between colors and moods studied by the American psychologist Robert Plutchik.

There are eight “primary” emotions that we all experience and that mix with each other, always generating new feelings, positive or negative, active or passive. Each one has a color associated with it, which makes it perceptible to everyone. So, the Multipurpose Center becomes an opportunity to form new bonds, to create areas of belonging and reflect on a scattered society, yet so emotionally close as to give life to a single color.

More info: Archive of Fondazione Peccioliper

Azzurro by Vittorio Corsini

Vittorio Corsini, Azzurro, 2017, Projection, Peccioli, Chiesa del Carmine

On the external walls of Chiesa del Carmine there is a light installation developing like a narration in images, starting from the south-facing side. Silhouettes of natural elements run along the walls of the building describing a landscape through symbols, which in some cases become abstract shapes, and the single word “azzurro” (light blue): every observer is the protagonist of this path, and passing by at their own pace and with their own interpretation, they also become the narrators. A window on the main façade and a small cross on the spire of the bell tower are illuminated in order to relocate the building within its landscape and bring it back to its history. The chosen material, “the light”, constitutes the essence, the quality, the way of reasoning behind the work: it is the representation of an inner vital process, impalpable and yet real, like those luminous rays that draw symbols on the walls of the church.

More info: Archive Fondazione Peccioliper

Constructive Peccioli, a work by Nicola Carrino

Constructive Peccioli, a work by Nicola Carrino

Nicola Carrino, Peccioli Constructive, 2001, Peccioli, Carabinieri barracks

On 21 July 2001, a few months after the inauguration ceremony of the new Carabinieri barracks in town, the sculpture entitled Peccioli Constructive, a work by Nicola Carrino, was inaugurated.

Starting from the early 1960s, Carrino has been an advocate of Minimalism, from which he has taken the essential, pure, strongly architectural lines.

Peccioli Constructive is made of steel and consists of two faces, three meters high and one and a half wide, assembled by welding. During the inauguration, Carrino stated that the vertical work rises upwards through a constant and at the same time monitoring process, just like that of the Carabinieri.

Source: Archive of Fondazione Peccioliper

Sed necesse est by Vittorio Corsini

Vittorio Corsini, Sed necesse est, 2002, Peccioli, Hotel Portavaldera

A perspective gash splits the wall in front of us. The room gets longer and the volume gets doubled. Sed necesse est, this is the title of the work, represents another space: desks, chairs and an empty classroom are outlined, but have no consistency. The lines are only dotted on the wall as there is a reference to the technique of dusting. The work is a reference to the first phase of learning in the life of people, the school: intellectual knowledge is metaphorically represented by the place where it is transmitted. Cultural assimilation is the necessary basis that informs our existence and our doing

More info: Archive of Fondazione Peccioliper

Just Do It!

Vladimir Dubossarky and Alexander Vinogradov, Just Do It!, 2000, Peccioli, Hotel Portavaldera

The largest wall in the waiting room is occupied by a painting by Vladimir Dubossarky and Alexander Vinogradov. The work, entitled Just Do It!, from 2000, reflects the dichotomy intrinsic in the mentality and history of recent Russia. It expresses an attachment to the socialist realism of Marxist origin, a desire for redemption from isolation and therefore a tendency to conform to western principles, accompanied by a yearning for consumerism. Russia takes possession of western status symbols imposed by the market and taken to their excess (the portrait in the work is Arnold Schwarzenegger’s), undergoing a process of massification: the title of the work refers to the advertising of the sneakers by Nike.

More info: Archive of Fondazione Peccioliper

“Il tempio del vento” (the temple of the wind), a work by Casciello

The temple of the wind, a work by Casciello on the Terrace of Centro Polivalente

Angelo Casciello, The temple of the wind, a work dating to 1998 installed in Peccioli in 2009, Peccioli, Terrace of the Multipurpose Center.

Angelo Casciello places himself in an exchange with the environment and gives space to the value of the place. In his vision, the place is a conception of sculpture becoming a matter of the space-ambience.

The temple of the wind expresses the bond with nature, in which the countryside, the earth and the peasant world with its rituals and myths become a stimulus and validation for a journey through art. The artist plays on the relationship between solid and void volumes; he plays with subtle and solid ramifications, like in a totem, entering into the surrounding landscape and becoming an element of continuity, striving to mend the relationship between countryside and city. Casciello rethinks the spaces in which people live so that the sculptural work takes into account the sounds of the cities, the colors of the trees, the rustle of the wind.

The temple of the wind by Angelo Casciello, installed initially at Fonte Mazzola Amphitheater in Peccioli, is now located on the terrace of the Multi-purpose Center in Peccioli.

More info: Archive of Fondazione Peccioliper

Walls III by Federico de Leonardis

Federico de Leonardis, Walls III, 2005, Peccioli, Incubatore d’Imprese

From the 1970s to today, the artist has been working on space, placing at the center of his study the tools of manual work: hammers, anvils, nails, gloves, bags of cement, plumb lines, chains, steel cushions used to cut marble in quarries.

The Cushions (Walls III) are remains of what De Leonardis defines as the true modern cathedrals: the marble quarries, where the greatest violence is exercised on nature and on the landscape of nineteenth-century oleographic iconography. Dilator cushions are used to break the blocks of marble through the injection of pressurized water, which generated their particular shape.

More info: Archive of Fondazione Peccioliper

The Stairway to Ophiuchus

Grupparte, The Stairway to Ophiucus, 2010, Peccioli, Vicolo Grotticella

Grupparte is an art workshop founded by Tommaso Toncelli in 2005 in Peccioli.

In the garden of vicolo Grotticella in Peccioli is a wooden staircase leaning against a tuff wall: it leads the visitor towards an arch in the shape of a keyhole, through which the constellation Ophiuchus can be admired at dusk.

La Scala for Ophiucus is a site-specific work, created by Giorgio Gremignai, Roberto Fiorentini and Tommaso Toncelli.

We often hear of Ophiuchus as the thirteenth star sign. There are 13 constellations that cross the zodiac, because in addition to the 12 which give their names to the signs, we must add the Ophiuchus constellation, which is crossed by the Sun, the Moon and the planets like the others, and which is located between Scorpio and Sagittarius. Therefore, Ophiuchus is a constellation that crosses the zodiac, yet not a zodiac sign.

More info: Archive of Fondazione Peccioliper