Giovanni Campus, Intervento.installazione, 1977, Piazzetta di Palazzo Reale, Milano

 

Giovanni Campus, Intervento.installazione, 1977, Piazzetta di Palazzo Reale, Milano

 

Giovanni Campus

Struttura modulare multipla

1970

screenprint on methacrylate, metal

76 x 55,4 x 4,6 cm

ph. Flavio Pescatori

 

Giovanni Campus

Intervento

1983

concrete, rope on wood, boxed perspex

21 x 31 x 8 cm
ph. Flavio Pescatori

 

Giovanni Campus

Tempo in processo. Rapporti-misure-connessioni

2018-2019

acrylic, graphite on cardboard, shaped wood

69,7 x 160 x 4 cm

ph. Flavio Pescatori

GIOVANNI CAMPUS Tempo e passione. A Tribute to the Artist (1929-2025)

26.03.2026 – 23.05.2026

From March 26th to May 23rd, 2026, BUILDING GALLERY presents GIOVANNI CAMPUS Tempo e passione. A Tribute to the Artist (1929-2025), an exhibition dedicated to the Maestro, a few months after his passing.

The exhibition, curated by Marco Meneguzzo, grew out of a desire to celebrate and pay tribute to one of the most rigorous and consistent artistic research in the contemporary Italian art scene. Through a selection of the artist’s emblematic artworks—brought together in the exhibition space from the ground floor to the first floor of the gallery—the exhibition conveys the power of an essential language based on the dialogue between time, space, and sign.

 

As curator Marco Meneguzzo observes: “In recent years, Tempo in processo (Time in Process) has been the title of almost all of Giovanni Campus’s artworks, actions, and exhibitions. ‘Tempo in processo’ means considering a universal factor—time—linked to human time, which is not only ‘becoming’ but indeed ‘process’.” All his activity as a sculptor revolves around processuality, which is peculiar to the human being because it implies a will to act. Thus, what appear to be silent, minimalist, immanent sculptures always speak of the hands that installed them, which are necessarily not only those of the artist. For Campus, in fact, the sculptor is a catalyst of forces, and sculpture is a collective endeavor.”

 

From this perspective, the exhibition also aims to serve as an ideal tribute to the artist by Milan, the city that welcomed him in the 1960s and where he lived and worked for over fifty years. The exhibition thus presents the photographic documentation of Intervento.installazione, an action performed in 1977 in the small square in front of Palazzo Reale, in which the artist intervened by placing enormous steel springs in the urban space—in dialogue with Piermarini’s historic architecture—modifying the sensory perception of the existing environment and at the same time activating a dynamic elastic field, charged with potential force and symbolic of the metropolitan industrial modernity.

Artisti