Cavalcade, sculptures et dessins 1963–2001

Aligned like a parade on the sculpture platform of the first floor, Bruno Gironcoli’s (1936–2010) works appeared as hybrid, almost extraterrestrial altars, combining mechanical components with organic motifs. On the third floor, smaller sculptures and drawings were presented. These works confront the human figure more directly, staging a body that is wounded, tortured, violated—yet integrated into a kind of ceremony or choreography. They also serve as ways of imagining the site of a performance, as if Gironcoli were making visible the place where his sculptures are produced, or their future context, in the form of scenic fantasies. By the late 1970s, he established a repertoire of modest-sized forms displayed in vitrines. These sculptures soon became modules—babies, larvae, clusters of grapes, ears of wheat, as well as phallic and vaginal figures—that would later find monumental expression in his large-scale compositions.