Artist:
Mauro Staccioli
Title:
Torri di Luciana
Year:
1992
Adress:
Mercatale Val di Pesa
Aspects of this artwork
This artwork Torri di Luciana by Mauro Staccioli seems to be able to carry the entire area and be able to place this on the earth. In a smaller size, the effect would be partially lost.
Compared with other artworks
Marwari Horse at Water by Nic Fiddian-Green (London, picture 1, more information) is a masterpiece that is realistic yet is poetic and aesthetic. It remains subtle even with it's large size. With this piece, the lawn is transformed into a poetic space. It will be wonderful to be together in the vicinity of this beauty.
American cities such as Los Angeles, can cope well with large format artworks. Memory Reflection by Lita Albuquergue (Los Angeles, picture 2, more information) first appears to be a little star, than becomes a thin line that gradually turns into a fountain and a gold sphere that seems to rise to the sky.
This miracle of the artwork David by Michelangelo di Lodovico Buonarroti Simoni (Venice, picture 3, more information) retains its beauty, power and magic in every format it would have been implemented.
The large scale of this artwork Spider by Louise Bourgeois (New York, picture 4, more information), is one of the reasons of it’s impact. When this artwork would have a small scale, the impact would be less. The meaning of the artwork is needed to have impact if it would have a small scale.
By Theo, www.artatsite.com
www.irre.toscana.it:
Mauro Staccioli, autore del grande monumento che si trova presso la Torre di Luciana a Mercatale Val di Pesa, aveva inizialmente pensato la sua opera per una esposizione temporanea nel Parco Sant'Alessio sull'Aventino a Roma. Nel 1992, in occasione del restauro della Torre, la scultura caratterizzata dalla forma di una falce (segno inconfondibile dell'artista toscano), viene però trasferita, come installazione permanente, in questa zona del Comune di San Casciano e nel 1996 inserita nei percorsi di Tuscia Electa.
Malgrado le due diverse ambientazioni, resta intatto il principio fondamentale di Staccioli secondo cui l'opera d'arte deve sempre stabilire un raccordo spazio-cromatico con il luogo prescelto, completandolo fino al punto di divenire una intromissione quasi necessaria.
Si tratta, soprattutto, di una sfida con lo spazio che, questa volta, (a differenza di quanto presentato dall'artista alla Rotonda della Besana a Milano, a Seul ed a Prato, con opere di analoga ispirazione), pur intraprendendo un gioco di equilibri e di disequilibri, raggiunge un'indovinata"armonia cosmica" tra i profili regolari delle colline, l'ampia mobilità della volta celeste e l'immobilità atavica della Torre, spazi per i quali essa funge da comune denominatore con la sua sospensione di imponente falce rossa.
Una volta imboccata l'uscita per San Casciano dalla superstrada Firenze-Siena, bisogna seguire la direzione per Mercatale. Oltrepassato il paese dopo qualche chilometro si incontra a sinistra la deviazione per Luciana. Proseguendo lungo la strada sterrata per circa 3 Km. e mantenendo sempre la destra si avvisterà, poco dopo, la Torre con vicina l'opera di Staccioli, proprietà del cementificio Sacci, grazie al quale essa è stata realizzata.
Translation
Mauro Staccioli, author of the great monument located at the Tower of Luciana in Mercatale Val di Pesa, had initially thought his work for a temporary Exposition in Sant'Alessio on the Aventine hill in Rome. In 1992, on the occasion of the restoration of the Tower, the sculpture is characterized by the shape of a scythe (unmistakable sign of the Tuscan artist), but transferred as a permanent installation, in this area of the municipality of San Casciano in 1996 and submitted in the paths of Tuscia Electa.
Despite the two different environments, remains intact the fundamental principle of Staccioli that artwork should always establish a fitting colour-space with the chosen place, completing it to the point of becoming an almost necessary intervention.
It is, above all, of a challenge with the space, but this time (unlike the artist presented at the Rotonda della Besana in Milan, in Seoul and in Prato, with works of similar inspiration) while taking a game of balance and imbalance, reaches a guessed"cosmic harmony" between the regular profiles of the hills, the extensive mobility of the celestial sphere and the immobility of the Tower resurfacing, spaces for which it serves as a common denominator with its imposing red sickle cell suspension.
Once you have taken the exit to San Carlos from the superstrada Firenze-Siena, follow signs for Mercatale. Crossing the country after some kilometres you turn left to Luciana. Continuing along the dirt road for about 3 Km and keeping the right craft will come shortly after the nearby Tower Staccioli's work, properties of cement Sacci, thanks to which it was created.
This artwork Torri di Luciana by Mauro Staccioli seems to be able to carry the entire area and be able to place this on the earth. In a smaller size, the effect would be partially lost.
Compared with other artworks
Marwari Horse at Water by Nic Fiddian-Green (London, picture 1, more information) is a masterpiece that is realistic yet is poetic and aesthetic. It remains subtle even with it's large size. With this piece, the lawn is transformed into a poetic space. It will be wonderful to be together in the vicinity of this beauty.
American cities such as Los Angeles, can cope well with large format artworks. Memory Reflection by Lita Albuquergue (Los Angeles, picture 2, more information) first appears to be a little star, than becomes a thin line that gradually turns into a fountain and a gold sphere that seems to rise to the sky.
This miracle of the artwork David by Michelangelo di Lodovico Buonarroti Simoni (Venice, picture 3, more information) retains its beauty, power and magic in every format it would have been implemented.
The large scale of this artwork Spider by Louise Bourgeois (New York, picture 4, more information), is one of the reasons of it’s impact. When this artwork would have a small scale, the impact would be less. The meaning of the artwork is needed to have impact if it would have a small scale.
By Theo, www.artatsite.com
www.irre.toscana.it:
Mauro Staccioli, autore del grande monumento che si trova presso la Torre di Luciana a Mercatale Val di Pesa, aveva inizialmente pensato la sua opera per una esposizione temporanea nel Parco Sant'Alessio sull'Aventino a Roma. Nel 1992, in occasione del restauro della Torre, la scultura caratterizzata dalla forma di una falce (segno inconfondibile dell'artista toscano), viene però trasferita, come installazione permanente, in questa zona del Comune di San Casciano e nel 1996 inserita nei percorsi di Tuscia Electa.
Malgrado le due diverse ambientazioni, resta intatto il principio fondamentale di Staccioli secondo cui l'opera d'arte deve sempre stabilire un raccordo spazio-cromatico con il luogo prescelto, completandolo fino al punto di divenire una intromissione quasi necessaria.
Si tratta, soprattutto, di una sfida con lo spazio che, questa volta, (a differenza di quanto presentato dall'artista alla Rotonda della Besana a Milano, a Seul ed a Prato, con opere di analoga ispirazione), pur intraprendendo un gioco di equilibri e di disequilibri, raggiunge un'indovinata"armonia cosmica" tra i profili regolari delle colline, l'ampia mobilità della volta celeste e l'immobilità atavica della Torre, spazi per i quali essa funge da comune denominatore con la sua sospensione di imponente falce rossa.
Una volta imboccata l'uscita per San Casciano dalla superstrada Firenze-Siena, bisogna seguire la direzione per Mercatale. Oltrepassato il paese dopo qualche chilometro si incontra a sinistra la deviazione per Luciana. Proseguendo lungo la strada sterrata per circa 3 Km. e mantenendo sempre la destra si avvisterà, poco dopo, la Torre con vicina l'opera di Staccioli, proprietà del cementificio Sacci, grazie al quale essa è stata realizzata.
Translation
Mauro Staccioli, author of the great monument located at the Tower of Luciana in Mercatale Val di Pesa, had initially thought his work for a temporary Exposition in Sant'Alessio on the Aventine hill in Rome. In 1992, on the occasion of the restoration of the Tower, the sculpture is characterized by the shape of a scythe (unmistakable sign of the Tuscan artist), but transferred as a permanent installation, in this area of the municipality of San Casciano in 1996 and submitted in the paths of Tuscia Electa.
Despite the two different environments, remains intact the fundamental principle of Staccioli that artwork should always establish a fitting colour-space with the chosen place, completing it to the point of becoming an almost necessary intervention.
It is, above all, of a challenge with the space, but this time (unlike the artist presented at the Rotonda della Besana in Milan, in Seoul and in Prato, with works of similar inspiration) while taking a game of balance and imbalance, reaches a guessed"cosmic harmony" between the regular profiles of the hills, the extensive mobility of the celestial sphere and the immobility of the Tower resurfacing, spaces for which it serves as a common denominator with its imposing red sickle cell suspension.
Once you have taken the exit to San Carlos from the superstrada Firenze-Siena, follow signs for Mercatale. Crossing the country after some kilometres you turn left to Luciana. Continuing along the dirt road for about 3 Km and keeping the right craft will come shortly after the nearby Tower Staccioli's work, properties of cement Sacci, thanks to which it was created.