The exhibition-event directed by CAMeC Art Director Bruno Corà dedicated to Fausto Melotti and featuring interventions from Enrico Castellani, Luciano Fabro and Giulio Paolini was displayed at CAMeC from July 1st to October 15th 2006.
The exhibition took place 20 years after the death of the artist, and laid emphasis on one of his essential qualities: Music and the soul of sound.
Art critic and historian Paolo Fossati once said about Melotti: “With Melotti the game of metaphors becomes wider, and not only does architecture come into play, but so does music. Music means rhythmic and harmonic execution which dilates into space, that is vibration, whose tentacles, shapes, ramifications of metal or chalk are echoes or the figurative flap prolonging over the limit of the chosen objects. Sculpture takes the surprising and elusive role of a commutator, of a resonance box for plastic throw-ins, beckoned and abandoned like arpeggios or sudden emblematic presences.” Therefore, the exhibition focused on a series of significant works from Melotti dealing with music, but it also availed of other works from Castellani, Fabro and Paolini, who conversed with Melottii’s works through rhythm, iteration, pause, harmony and poetic share-out.
Among a substantial nucleus of works from Melotti such as Scultura n.21 (1935), Scultura G, Nove Cerchi, (1967), Scultura A (I Pendoli) 1968, Contrappunto IX (1972), Canone variato III (1972), La Bestia politica (1972), Scala musicale (1974), Controcanto (1975), Lazzaro (1980), I Lunari (1981), and besides the contributions from Castellani, Fabro and Paolini, many books, poems and other documents testifying Fausto Melotti’s true interest for music were exposed.