(Fabriano 1929–2008 Trevi)
Ombra di tre travi poggiate MT.3, 1973, cement and wood, 272 x 140 x 76 cm, (AR)

Provenance:
Di Bello Collection, Milan
Volker W. Feierabend Collection, Milan
European Private Collection

Exhibitions:
Milan, Studio Marconi, 1973, Uncini. Opere dal 1959 al 1973, Opening 27 September, exh. cat. p. 12 with ill.
Certaldo, Palazzo Pretorio, L’esperienza. Orientamenti attuali del lavoro artistico, 1 October - 30 November 1977;
Rome, Galleria dei Banchi Nuovi, Giuseppe Uncini, Opening 19 January 1989, exh. cat. p. 62 with ill.

Literature:
Bruno Corà, Giuseppe Uncini. Catalogo ragionato, Silvana Editoriale, Cinisello Balsamo, Milan 2007, p. 275, no. 73–011;
Daniela Ferrari (Ed.), VAF Stiftung. La Collezione. Catalogo generale, Silvana Editoriale, Cinisello Balsamo (Milan), 2012, p. 706 with ill.

The shadow – this fleeting essence, a sign of negativity, which is all too often ignored or silenced, which is almost always regarded as a passive factor, denoting an absence, at most a complement to investigation – was to become the focus of artistic investigation itself at some point; not as an artifice to produce a foreshortened or naturalist effect, but in order to ‘shed light’ on a fundamental element of the work. [...]
By giving shadow concreteness and materiality, transforming its incorporeal appearance into a solid object with the same material characteristic as the object that generates it (despite being its opposite), Uncini created a new category of ‘aistheta’ (in Husserl’s sense of the term) of ‘aesthetic bodies’, that is, bodies possessing an existence of their own, even outside and beyond the matter that generated them’.
Gillo Dorfles