The exhibition, which presents a dozen large bronzes and an equal number of smaller sculptures, shows how the activity of one of the greatest contemporary artists has also declined in recent years in a dense sculptural production, which continues to complement that work dedicated to Tableaux Piège that has made him internationally known to the general public since the early 1960s.

The decision to show a selection of Daniel Spoerri's most important and recent sculptural works also responds to the desire to reconnect with the exhibition tradition of the Spoleto Festival, which, under the direction of Giovanni Carandente, had shown in Italy the research of internationally active artists who were profoundly innovative with respect to the language of classical and traditional sculpture.

The same is true of Daniel Spoerri's bronze works, which, produced in Italy where to Seggiano is also home to the artist's foundation, "Il Giardino di Daniel Spoerri," reaffirm both the artist's connection to Italy and the Spoleto Festival's characteristic of showing works by international artists that have, however, been conceived in relation to our country, if not actually produced and made here.

The sculptures on display in the exhibition were all conceived and created between 2005 and 2016, through a path marked in three stages: theopera that stems from the assemblages of a number of objects found from Spoerri in flea markets around the world, the first bronze casting with the metal runners still attached, and finally the last version, that of the cleaned and patinated bronze sculpture. In this way, Daniel Spoerri's bronze sculptures confirm the artist's interest in investigating how objects, taken from their usual context and everyday life, manage to to charge themselves with other meanings and become evocative and disorienting through their deconstruction, assemblage and contamination. The sculptures, therefore, like his famous trap paintings(Tableaux Piège) also trap chance and seem to freeze the flow of life to become a powerful rethink on the value of time and the cycle of life and death, as well as on the profound meaning of human action and being in the world.

In this way, Daniel Spoerri's sculptures revolve around the idea of fixing forever what chance and life have naturally determined, just as they are the manifestation of the artist's attempt to preserve and retain tracks and the memory of lived situations, past traditions and customs. The path that winds through the selected sculptures, which naturally dialogue with an exhibition space that is also austere and laden with historical references, thus outlines a kind of archaeological and anthropological reconstruction of our time, relived through the age-old practice of sculpture and art.