{"id":5625,"date":"2025-10-03T18:54:20","date_gmt":"2025-10-03T16:54:20","guid":{"rendered":"https:\/\/gnamc.cultura.gov.it\/evento\/ceroli-totale\/"},"modified":"2026-09-15T11:02:52","modified_gmt":"2026-09-15T09:02:52","slug":"ceroli-totale","status":"publish","type":"evento","link":"https:\/\/gnamc.cultura.gov.it\/en\/event\/ceroli-totale\/","title":{"rendered":"Ceroli Totale"},"content":{"rendered":"

Ceroli Totale<\/span><\/i><\/b><\/h1>\n

7 October 2025 \u2013 11 January 2026<\/strong><\/p>\n

The Galleria Nazionale d\u2019Arte Moderna e Contemporanea<\/strong>, in collaboration with Banca Ifis<\/strong>, presents CEROLI TOTALE<\/em><\/strong>, a monographic exhibition dedicated to Mario Ceroli (Castel Frentano, 1938). Curated by Renata Cristina Mazzantini, Director of the GNAMC, and Cesare Biasini Selvaggi, the exhibition traces seventy years of the sculptor\u2019s artistic research through a selection of twenty works, including sculptures and installations, drawn from the collections of the GNAMC, Banca Ifis and the artist himself.<\/p>\n

As part of the Artista alla GNAMC<\/em><\/strong> initiative, Ceroli will be the Protagonist of 2025<\/strong>. The \u201cartists in residence\u201d programme, conceived according to the formula \u201cone year, one artist, one gallery\u201d, will involve the master in a series of meetings with the public, scholars and students from the academies and faculties of Valle Giulia, allowing younger audiences in particular to explore the artist\u2019s work directly. For the Artista alla GNAMC<\/em> initiative, Ceroli has created two site-specific works entitled La grande quercia<\/em> and Le ceneri<\/em>.<\/p>\n

\u201cIt is a privilege to retrace with Mario Ceroli the most significant stages of an artistic career that, masterpiece after masterpiece, spans the history of Italian art, from the Scuola di Piazza del Popolo to Arte Povera and up to the present day. Ceroli has masterfully staged an exhibition rich in evocative elements, reinterpreting every work, both historic and recent, with self-irony in a constant search for himself,\u201d<\/em> declares Renata Cristina Mazzantini, Director of the Galleria Nazionale d\u2019Arte Moderna e Contemporanea<\/strong> and co-curator of the exhibition.<\/p>\n

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\u201cCeroli Totale is a selection of the masterpieces acquired by Banca Ifis, documenting his artistic career from the 1950s to the present day. It is an objective we began last year precisely at the GNAMC, which is now strengthened by this exhibition and which will culminate in the opening of the Museo Ceroli to the public in 2026. Our Bank\u2019s intention is to move forward towards the opening of the museum, in order to preserve the collection\u2014in the fascinating setting of the artist\u2019s house, garden and hangar-studio\u2014and to make research and experimentation possible through workshops and studios intended for young people,\u201d<\/em> declares Ernesto F\u00fcrstenberg Fassio, President of Banca Ifis.<\/p>\n

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\u201cI conceived this exhibition as straightforward and simple, with a contemporary character: serious, made with the mind but also with the heart, culturally sound. The works that follow one another from room to room make me feel the drive and enthusiasm I had as a young man, when, at seventeen, I created the nailed tree trunk now on display under the title<\/em> Composizione<\/em><\/strong>*, owned by the Galleria Nazionale d\u2019Arte Moderna e Contemporanea. When I finished installing the exhibition, I felt as though I were standing in a great square\u2014that of Piazza del Popolo, of Caff\u00e8 Rosati\u2014when Rome was at the avant-garde, with the galleries of the time, La Tartaruga, La Salita, L\u2019Attico, and the new generation of the Roman school.\u201d*<\/p>\n

Mario Ceroli<\/strong><\/p>\n<\/blockquote>\n

\u201cThe CEROLI TOTALE exhibition was conceived by the artist as a work of art in itself, \u2018total\u2019, a new act in a long and coherent continuity and freedom of imagination in the staging of works that has unfolded over seventy years and continues to the present day. The exhibition aims to highlight how Ceroli\u2019s ongoing research has always succeeded in renewing itself within space, taking risks despite the successes and recognition achieved each time, and pioneering new sensibilities, trends and broad directions in contemporary creativity,\u201d<\/em> declares Cesare Biasini Selvaggi, co-curator of the exhibition.<\/p>\n

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The exhibition presents, across 10 galleries of the museum, a selection of the artist\u2019s masterpieces, including La Cina<\/em> (1966), Primavera<\/em> (1968), Balcone<\/em> (1966), Progetto per la pace<\/em> (1969) and La battaglia<\/em> (1978), alongside works that have never previously been exhibited, including Sesto senso<\/em> (1999), Le chiacchiere<\/em> (1989), Tela di Penelope<\/em> (1992) and Arpa birmana<\/em> (1992). The exhibition is conceived as a staging of Ceroli\u2019s theatrical world, in which each work is cast by the artist as a character summoned to \u201cperform\u201d an unprecedented role, in a permanent search for contemporaneity. Many of the complex sculptural compositions occupy the space assigned to them in such a way that viewers can immerse themselves in them and become part of the experience, as though transported to an artificial elsewhere.<\/p>\n

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Ceroli Totale<\/strong><\/h4>\n

Galleria Nazionale d\u2019Arte Moderna e Contemporanea<\/strong>
\nViale delle Belle Arti 131, Rome<\/p>\n

Dates<\/strong>
\n7 October 2025 \u2013 11 January 2026<\/strong><\/p>\n

Curators<\/strong>
\nRenata Cristina Mazzantini and Cesare Biasini Selvaggi<\/p>\n

Tickets<\/strong>
\nThe exhibition is [included in the admission ticket<\/strong>] to the Galleria Nazionale d\u2019Arte Moderna e Contemporanea.<\/p>\n","protected":false},"excerpt":{"rendered":"

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