Iron sculpture, resting on a rectangular base, in the shape of a human torso. The shapes are rough and made up of fragments tied together so that holes can be seen.   Castelli works on the idea of a torso figure. In this case, the human body is subjected to a violent process of erosion: of its forms only a distant echo remains, a thin and imperfect slab, covered with scars and calcifications, with wounds that can no longer heal. The sculpture was awarded at the 7th edition of the Modigliani Prize in Livorno.

Painting depicting a high band in red monochrome under which an inscription in italics is painted. Isgrò is one of the most significant artists of the group of visual poets; his research, in fact, turns to an art not linked only to visuality but also determined by conceptual interventions. Between the end of the sixties and the early seventies, the author made a cycle of works entitled "The red stories", where we often find references to Marx or other exponents of communist politics. The work, also known simply as "Alma", represents a lit and long-limbed canvas, where the red rectangle involves a total negation of the image, leaving the viewer to complete it, freeing the imagination uncontrollably, guided only by the "trace" lyricist that characterizes it. The canvas was exhibited at the first Biennial of the Progressive Museum of Contemporary Art in Livorno.

Painting depicting a whirlwind of minute signs among which many distorted skeletons stir.

Tancredi Parmeggiani made his debut as a post-cubist and then moved towards an informal production. Tancredi's criticism of society towards conformism and social inequality, which anticipates the claims of 1968, as well as his profound inner malaise, can be found in the fluid brushstrokes in pastel colors of the Hiroshima series, composed of three large canvases that illustrate, in terms of macabre protest, the devastating effects of the atomic bomb on civilians. The work, formerly 7. Modigliani 1963 Prize, is part of a series of three dedicated to Hiroshima.

Wooden case with a blue background containing twelve squares of wadding.

After a start with space or nuclear research, Manzoni turned to the informal and then turned to work on the Achromes which began in 1957. In 1959 he was one of the founders of Azimuth and began his most provocative phase, of demystification of art: from 'breath' to artist's 'shit', to hard-boiled eggs signed with the thumb, to flesh and blood models signed by Manzoni. Achrome is a conceptual work of art that arises from a provocative intent that has its roots in the Dadaist reflection of demystifying the artistic object. Here the wadding squares of the work, just as the title suggests, appear white because they are naturally achromatic, devoid of color. Achrome was exhibited at the 1st Biennial of the Progressive Museum of Contemporary Art in Livorno together with the two Assessment Tables.

Painted with a black background on which black and beige nylon tapes are applied to form intersections.

Biasi was one of the founders in 1959 of the Paduan Group N, a pioneer of kinetic research, always interested in visual and perceptual studies, he participated in the international group New Trends in 1961 and since 1968 he has undertaken visual research through the use of computer. The work is composed of a wooden box with paint inside and PVC lamellas, the overlapping of these lamellar and photo-reflective structures in PVC creates a vibrating and moving effect that stimulates the visitor to observe the work from multiple points of view. The painting was exhibited at the 1st Biennial of the progressive museum of contemporary art in Livorno.

Structure in natural, natural anodized and black aluminum formed by a series of cubic modules with a differently colored and angled bottom. On the back a written by the author. Tag with signature and date at the top right.

The artist, trained in Milan, begins with informal works but later dedicates himself exclusively to the study of perceptual ambiguities, creating structures - strictly numbered in progression - that involve the viewer with their variations in depth, their alternation of color and their axonometric deformations. The work in question is a work played on this depth, on these shadows that also act inside the object that must be seen from the front. It is part of that set of works in the balance between painting and sculpture, which make optical deception one of the fundamental elements. The work was exhibited at the first Biennial of the Progressive Museum of Contemporary Art in Livorno.

The work consists of a white painted canvas applied to a wooden frame and nails that stretch it, forming reliefs arranged in a regular way.

Castellani, after having made his debut in the 1950s with informal works, approaches Fontana, then creating monochrome surfaces animated by bulges and folds obtained by shaping the frame or supporting the canvas with ribs or nails that stretch the surface. The work in question, dated 1970, is placed halfway between a painted canvas and a sculptural bas-relief. The artist offers proof of his optical-perceptive researches on a monochrome background with the canvas everted and inverted by means of nails that modify its surface. This visual and material research carried out through the tension of the canvas causes in the viewer a sensation of motion of the surface, which appears modulated through a play of light and shadow. One of the fundamental characters in Castellani's works is precisely the vibrating sense, rendered through the rhythmic and plastic sense of the surfaces.

Painting depicting a series of squared motifs arranged on various intersecting or overlapping figures. Colors: blue, black, green, yellow, red.

Mario Nigro from Pistoia by birth, Livorno by adoption, joined the MAC in 1949 and began his research for a "total space", characterized by simultaneous networks. The abstract art of the canvas is punctuated with rhythm and precision by a deep geometric grid that overcomes the Euclidean two-dimensionalism, made possible by a skilful alternation of bright and brilliant colors, such as yellow and green, in contrast with midnight blue and black. of the lines present, of variable thickness. In these optical-perceptive grids one abstracts oneself into another dimension and, where geometric lines intertwine in an articulated plot, Nigro's research becomes not only artistic but also ethical and philosophical, a dynamic transposition on canvas of the transience of human life. The work was exhibited at the 1st Biennial of the progressive contemporary art museum of Livorno.

Painting with a white background on which tiny figures and writings are arranged.

Baruchello comes to painting after having trained in Paris in the 1950s and having been in contact with Man Ray, Max Ernst and Marcel Duchamp. His works, usually large 2x2 panels, are characterized by a crowding of tiny images, by a heterogeneity of materials and words. The work represents a multi-directional narration: from a distance you can perceive the overall vision of the work, from close you can distinguish even the smallest detail. The observation of this work thus becomes a performative action, where the viewer is involved and called to see, remember, question and put together the pieces arranged by the author on the canvas. A fruition that never runs out. The work, exhibited at the 1st Biennial of the Progressive Museum of Contemporary Art in Livorno together with some data to be introduced into the heart's computer (1974) by the same author, was donated in 1976 by the artist to his hometown (of Baruchello is also present at Bottini dell'Olio in cold fact).

Hexagonal-shaped panel with aluminum segments placed to form a cube seen from the edge. The panel is in matt black laminate.

The author, particularly interested in luminous vibrations, has dedicated himself since the 1950s to surfaces with a vibrating texture which represent his basic research. The work in question investigates the form and the materials through the luminous vibrations on the reflecting surface and tries to deceive the eye of the viewer by undermining the formal sense of the object and its effective dimensionality. The work in question was exhibited at the 1st Biennial of the Progressive Museum of Contemporary Art in Livorno.