(Villach 1936–2010 Vienna)
Bow with drop form 1962–1967/1993–1994, cast aluminium, signed Gironcoli and inscribed 6E, Edition of 6 and 1 E. A., 82 x 122 x 32 cm, caster: Rabas, Vienna

Bettina M. Busse, Bruno Gironcoli, Die Skulpturen 1956–2008, Hatje Cantz Verlag, 2008, p. 360, SE-1-there the note: This work also exists in modified form without the spoon.

Exhibited and published:
Gironcoli Museum-Kunst ist... Gironcoli Museum Herberstein, Verein der Freunde des Gironcoli Museums Herberstein, Holzhauser, 2006, ill. p. 67

Provenance:
Private Collection, Upper Austria

Romantic in its anachronism, a sculptors piece – existing independently though constantly on offer – reflects the viewer engrossed in it. In this contemplation, the viewer appears as a subject, exclusively subjective, striving to see himself in his emotions, singled out, as it were, deformed but also separated from the interlocutor who is bound within the sphere of rationality and generality. If the viewer is trying to reach this general unity of being through the sculptural piece, he experiences a remaining yearning for showing emotions, a yearning which has not been used up by rationality and operates on the general level, looking for unstable connection without this convention. Like being reborn, like a bridge, the wish to recapture a language via the sculptural work.
From: Bruno Gironcoli, Biennale Di Venezia, 2003, Verlag der Buchhandlung Walther König, Cologne, p. 84