On view 20 works spanning 70 years of artistic exploration
“Ceroli Totale”, the solo exhibition dedicated to the sculptor by the National Gallery of Modern and Contemporary Art, carries in its title a statement of intent. An absolute that leaves no doubt about the expressive and communicative urgency driving the event.
The selection testifies to a lifelong experimentation with symbol, material and memory. Spanning seventy years, it focuses on twenty works, including two site-specific installations (La grande quercia and Le ceneri), created within the framework of the “Artist at GNAMC” initiative. Visitors will have the chance to meet Mario Ceroli in person and explore his work directly.
“I conceived this exhibition to be dry and simple, with a contemporary flavor, serious, made with both head and heart, culturally sound,” says the artist, aware that he has always been a man of his time through time. Born in Castel Frentano in 1938, Ceroli has centered his creativity on woodcarving, constantly reinterpreting the themes of tradition and popular culture through a modern lens. A graduate of the Academy of Fine Arts in Rome, he draws inspiration from Pop Art and Arte Povera, fusing artisanal skill with conceptual depth. He has also created stage sets and monumental installations, collaborating with directors such as Franco Zeffirelli.
After his training at the Academy in Rome, Ceroli turned his gaze toward Pop Art and Arte Povera, merging craftsmanship with conceptual thinking
In the Roman exhibition, on view until January 11, curated by Renata Cristina Mazzantini and Cesare Biasini Selvaggi, stand out key works such as La Cina (1966), which reduces the human figure to essential forms with an ironic edge that softens the tensions of its era. Primavera (1968) marks a lyrical turn: the Russian pine, a recurring material in his work, valued for its texture, resinous scent and ability to evoke something humble yet intense, in tune with the reflections of Arte Povera and the Scuola di Piazza del Popolo, embodies the renewal of nature. In Balcone (1966), Ceroli transforms an architectural element into a manifesto of both dialogue and separation between the individual and the external world. With Progetto per la pace (1969), he responds to conflict by creating a space of hope, defined by simple yet powerful forms. La battaglia (1978), by contrast, unfolds a dramatic scenario that immerses the viewer in the pace of action.
In La Cina (1966), he distilled the human figure into essential signs, adding a touch of irony to lighten the social climate of the time
The exhibition also represents the first step in a far-reaching project that will culminate in 2026 with the opening of Ceroli’s house-museum. Conceived as a living, dynamic space within the artist’s historic studio, this future shrine will allow visitors to enter into symbiosis with his creative universe. It will not only gather artworks, sketches and archival materials but also recreate the atmosphere of the workshop where Ceroli has long given body and volume to his ideas.
La battaglia (1978) presents a dramatic scene that draws the viewer into the rhythm of action
