The Sense of Sculpture: Practiced Sculpture in the 1970s Dematerializations Context

Caterina Martinelli

Mauro Staccioli, Condizione città, Parma, 1973, iron, concrete and two stainless steel cones, three elements ⊘ 220x240 cm each, ph. Enrico Cattaneo — Mauro Staccioli, *Condizione città*, Parma, 1973, iron, concrete and two stainless steel cones, three elements ⊘ 220x240 cm each, ph. Enrico Cattaneo

Mauro Staccioli, *Condizione città*, Parma, 1973, iron, concrete and two stainless steel cones, three elements ⊘ 220x240 cm each, ph. Enrico Cattaneo

This project examines the work of the sculptor Mauro Staccioli during the politically tumultuous decade of the 1970s. Mauro Staccioli’s sculptures were shaped by and engaged with the socio-political aspects of the years in which they were created. Consequently, an examination of his oeuvre facilitates a more nuanced comprehension of the intricate historical and cultural milieu in which he was situated.
Staccioli’s sculptures provide a particularly crucial commentary on the role of art in society during a period marked by the dissolution of traditional boundaries between art and its surrounding environment. This phenomenon challenges long-held assumptions about the permanence and functionality of art, and it redefines the relationship between the viewer, the artwork, and the urban context.
This project aims to define and analyze Staccioli’s 1970s work in a comprehensive manner. In doing so, it intends to outline the specific influences during his early years in Milan, in order to provide an explanation for his distinctive sculptural practice. It also aims to contextualize his work within the broader historical, political, and social milieu of Italy in the 1970s, and to place his contributions within the broader context of both Italian and international contemporary sculpture.
In light of these objectives, this project aims to elucidate the significance of Staccioli’s oeuvre.