ROME.- From November 9, 2024, to May 4, 2025, the National Roman Museum hosts an exhibition of works by Tony Cragg. The exhibition has been curated by Sergio Risaliti and Stéphane Verger. This major solo exhibition celebrates the work of Tony Cragg, one of the leading figures in contemporary sculpture, renowned for his innovative approach to form, materials, and techniques since the 1970s.

A Sculptural Dialogue Between History and Modernity

The exhibition, organized by BAM – Eventi d’Arte, extends beyond the museum walls, with sculptures displayed in Roman public squares through collaboration with Municipio I Roma Centro. According to curator Stéphane Verger, “Tony Cragg delivers works imbued with a timeless strength, resonating with the historical collections of the museum itself. His sculptures, prominently showcased in the Grand Halls of the Baths of Diocletian, reaffirm the venue’s reputation as a home for contemporary sculpture.”

Sergio Risaliti, co-curator, adds, “This marks the third time I’ve had the honor of working with Tony Cragg. His works engage seamlessly with spaces steeped in history and art, creating a unique synergy that connects the distant past with the distant future. His ability to harmonize his sculptures with their surroundings is a testament to his profound understanding of art history and his roots in the present.”

Contemporary Forms in Historic Spaces

The exhibition features 18 medium- and large-scale sculptures, crafted over the past two decades from bronze, wood, travertine, fiberglass, and steel. These forms—evoking geological and biological structures, ocean waves, and the geometry of plants and shells—engage in a rich dialogue with the monumental spaces of the Baths of Diocletian.

Tony Cragg’s artistic exploration focuses on the limitless possibilities of drawing and sculpture, drawing inspiration from natural processes and evolutionary structures. The exhibition’s title, Infinite Forms and Beautiful, references Charles Darwin’s words celebrating the richness of life’s architectural diversity. For Cragg, sculpture becomes a bridge between the natural and artificial, blending organic shapes with digital and laboratory-created forms.

Art in Public Spaces: A Fusion of Past and Present

As part of the exhibition’s outreach, Tony Cragg’s sculptures have also been installed in public spaces across Rome. Giulia Silvia Ghia, Rome’s Culture Councillor, highlights the importance of this initiative: “Cragg’s sculptures represent a fusion of contemporary art and Rome’s historic urban context. They create a visual dialogue between classical architecture and modern biomorphic forms, offering audiences an enriched aesthetic experience.”

Cragg’s works transcend traditional expectations, challenging the boundaries between abstraction and figurative representation. Whether evoking landscapes or human forms, his sculptures are complex and dynamic, experimenting with materiality and balance. The exhibition invites visitors to experience these forms in ways that engage the senses and imagination, fostering a deeper connection to art and the world.

A Legacy of Innovation

Born in Liverpool in 1949, Tony Cragg’s career spans decades of innovation. Initially influenced by minimalism and land art, he experimented with assemblages of found objects before transitioning to traditional materials like stone, iron, and bronze. His teaching roles at prestigious institutions and his establishment of the Skulpturenpark Waldfrieden in Wuppertal underscore his commitment to sculpture as both an art form and a method of inquiry.

Cragg’s works have been exhibited worldwide, from the Venice Biennale to Documenta in Kassel, earning him numerous accolades, including the Turner Prize in 1988 and the Praemium Imperiale from the Japanese Imperial Court in 2007. His recent exhibitions in Florence, Turin, and Venice further cement his place as a leading figure in contemporary sculpture.

The Baths of Diocletian: A Monumental Setting

The exhibition’s venue, the Baths of Diocletian, provides a striking backdrop for Cragg’s sculptures. These ancient Roman baths, known for their expansive vaulted halls, offer a unique interplay between historical architecture and contemporary art. Visitors are encouraged to explore the connection between visible and invisible realities, engaging with Cragg’s works on multiple sensory and intellectual levels.

A Pedagogical Approach to Sculpture

For Tony Cragg, sculpture is not merely about creating ornamental objects but serves as a tool for exploration and understanding. “Sculpture,” he states, “might just be at the beginning of its history. What if it’s only being born now? What if sculpture is less about decoration and more about investigation?”