December 3, 2021

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Science Museum Welcomes the Seven Elders of Fausto Melotti

Hospitalization in the Museum: an initiative that excludes prevention from ordinary health care facilities
Hospitalization in the Museum: an initiative that excludes prevention from ordinary health care facilities

The museum welcomes The Seven Sages by Fausto Melotti Within its spaces, thanks to the reinforcement agreement between the municipality of Milan, the metropolitan city and the Museo del Novecento. In fact, starting Friday, October 29, the National Museum of Science and Technology will display the sculptural collection in The garden of the first monastery of the monumental buildingAnd Returning to the city, in a permanent place, an iconic work that is part of Milan’s twentieth century heritage.

Science Museum Welcomes the Seven Elders of Fausto Melotti

Recently restored monasteries were selected for the site of the sculptural group, in order to create Connecting sculptures, green spaces and architectural contextWhere the shapes are arranged according to a geometric pattern that defines the game of looks, in an ambiguous silence aimed at renewing the spirit in which Milotti, the artist and engineer, thought. This cultural project is in line with the identity and mission of the Museum of Dialogue between Art, Science and Technology.

The arrival of “I Sette Savi” to the museum is part of a Project path to enhance and use archaeological parks and facilities, while protecting the Superintendent of Antiquities, Fine Arts and Urban Landscape of Milan, as well as the continuity of the museum’s cultural and organizational activity. The structural and foundational interventions of the Seven Elders were carried out thanks to the contribution of the Lombardy region.

The work of the “Seven Sages”, consisting of Seven Sculptures Made of Viggio Stone, in 1961 by the Milan municipality to Fausto Melotti to garden the new building Carducci High School . The seven sculptures take and modify the plaster work “Constant Man” presented by Melotti at the VI Triennale in 1936 for Sala della Coerenza designed by Studio BBPR (Banfi Architects, Belgioioso, Peressutti, Rogers): twelve plaster sculptures, with the hand hollow at height The heart, arranged in three rows of four sculptures each. In drawing human figures without details which also refer to De Chirico’s statues, the artist re-read The topic of the wise guardians of ancient Greek civilizationAnd ThalesAnd very lonelyAnd PeriandroAnd CleopoloAnd ChilonAnd statment NS petaco , referring to the reconstruction by Diogenes Laertius in The Lives of the Philosophers.

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From Sette Savi Melotti he made more specimens, in addition to those made of stone: a plaster copy, probably preparatory to Liceo Carducci’s sculpture, and a marble one commissioned by the Municipality of Milan in 1981 and exhibited at the PAC, Pavilion of Contemporary Art, in Via Palestro. To install Savi, you can go back to choose one An open space, to create a link between artefacts, nature and the architecture that surrounds it , where the sculptures are arranged according to a geometric pattern that defines the game of gazes in a mysterious silence, free from any form of anxiety. Their imposing form evokes a reassuring sense of protection, drawn from the almost hieratic wisdom they seem to instill in those who observe them: they are in fact undisturbed entities who face the passage of time calmly, welcoming it without worry, and inviting the viewer to do the same.

The sculptural collection well reflects the multifaceted training of Fausto Melotti, an engineer, musician and sculptor, as well as being a symbol of the creative fruition of a period of particular importance to Italian and Italian art, in which the history of the city merges with the history of the country. The museum’s desire to give back the “seven wise men” to society, wants to be a concrete action for it Emphasizing the value of culture as an essential factor of knowledgeWith the goal of social cohesion based on a strong identity value: Art, science, and culture are in fact elements of a union through which oneself can be recognized as part of the same history.

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