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57 - GIUSEPPE UNCINI (1929–2008) IRON SPACES No. 21. 1989. Concrete and Iron. 82x50x24 cm. Signed, titled, and dated. The work is accompanied by a certificate of registration from the Giuseppe Uncini Archive, Rome (incorrect dimensions). PROVENANCE: Must Gallery, Lugano; Private collection, Milan. Beginning in the late 1950s, with his first “Cementarmati” works, Giuseppe Uncini introduced construction materials—particularly concrete and iron—into the language of art, treating them not merely as supports but as constitutive and explicitly visible elements of the work.The “Spazi di ferro” (Iron Spaces) represent one of the most significant developments in this long-standing exploration. In the works belonging to this series—documented by the Giuseppe Uncini Archive in numerous examples from the late 1980s through the 1990s—iron takes on an increasingly autonomous presence, defining geometric structures, lines, planes, and volumes in space that interact with the concrete elements.The sculpture is therefore not conceived as a closed mass, but as an open construction in which solids and voids, material, and the surrounding space all contribute to the same architecture. Iron traces and delineates the space, while concrete retains that gravity and concreteness that constitute one of the fundamental elements of Uncini’s artistic language. In *Spazi di ferro*, a reflection that spans the artist’s entire career thus comes to fruition: making the structure visible, eliminating any distinction between form and construction. Concrete, rebar, trusses, and geometric forms do not imitate architecture but become, in themselves, a plastic vocabulary through which Uncini explores the relationship between sculpture, space, and the environment.
GIUSEPPE UNCINI (1929–2008) IRON SPACES No. 21. 1989. Concrete and Iron. 82x50x24 cm. Signed, titled, and dated. The work is accompanied by a certificate of registration from the Giuseppe Uncini Archive, Rome (incorrect dimensions). PROVENANCE: Must Gallery, Lugano; Private collection, Milan. Beginning in the late 1950s, with his first “Cementarmati” works, Giuseppe Uncini introduced construction materials—particularly concrete and iron—into the language of art, treating them not merely as supports but as constitutive and explicitly visible elements of the work.The “Spazi di ferro” (Iron Spaces) represent one of the most significant developments in this long-standing exploration. In the works belonging to this series—documented by the Giuseppe Uncini Archive in numerous examples from the late 1980s through the 1990s—iron takes on an increasingly autonomous presence, defining geometric structures, lines, planes, and volumes in space that interact with the concrete elements.The sculpture is therefore not conceived as a closed mass, but as an open construction in which solids and voids, material, and the surrounding space all contribute to the same architecture. Iron traces and delineates the space, while concrete retains that gravity and concreteness that constitute one of the fundamental elements of Uncini’s artistic language. In *Spazi di ferro*, a reflection that spans the artist’s entire career thus comes to fruition: making the structure visible, eliminating any distinction between form and construction. Concrete, rebar, trusses, and geometric forms do not imitate architecture but become, in themselves, a plastic vocabulary through which Uncini explores the relationship between sculpture, space, and the environment.