“La Silenziosa, this is the name i have given to my house, just because this is a silent place in the silence. the best place to listen and to work. everything who is living here is cherished by the aura borne from the place as the installations has already been living there. maybe truly, my works have already been around these places and also i do”.


Valter Rosa

(…) the first thing that you notice in the work of Lanfredini, before his ability to mould or incise the chosen material, be it clay or wood, is his ability to create places. I underline the creative act, almost clinical, to demonstrate the distance between his way of creating sculptures from just inserting made to order sculptures into pre-determined spaces and places. But what is a place? A central place. A natural landscape in its infinite varieties, can each offer many places, each of which seems to aspire to some sort of sign or  morphological shape (a cave, a water spring, a wild forest, an enormous tree in a field etc.) to potentially become the centre of the world.  In ancient societies, not only through rituals, but also through everyday habits, even through the simple practice of a craft, man could find or restore this centrality. Art, music and poetry have revealed, highlighted and amplified this perception of places, looking inside the most dark and hidden corners of detail finding the universal light.  In the contemporary world, on the other side, man’s activity has progressively stopped to be a revelation of places, and to respond to their natural vocation, proceeding towards the cancellation of each location and centrality. Is it possible to contrast this neutralization of space? (…)  To take on this challenge is the work of Italo Lanfredini, and the vast garden of the Silenziosa, his home – exhibition in the countryside of Commessaggio where he habitually brings to life his sculptures (…), it is much more than an exhibition of land art, it is to say almost the creation of a Utopia, which only through art has recaptured the idea of place and centrality. (…)

(Italo Lanfredini ­ A-Temporale, 2008, Ed. Biblioteca A. E. Mortara, Casalmaggiore – Cremona)

Claudio Cerritelli
(…) In the centre of the courtyard at Casa del Mantegna Temple (1988-89) stands as an example of pilework architecture for measuring the infinite. It is a solemn and solitary image that creates multiple contacts with the building that rotates around it and, above all, with the sky that hovers over the circle designed in the square. On several occasions Temple has been seen in relation to other enviromnents, from the nature of the landscape to other sites for exhibiting architecture.  But it has to be said that in this case its hold is emphasised by the harmonious measurements of the circular perimeter that embraces it and underlines its constructive energy. It involves the eye in a disquieting upsurge, where slight torsions cross the slender columns in a way that is never taken for granted. Positioned on red ground and rising up over three metres, the columns reveal secret transmutations that increase the space around the void, bringing it to the fore in one’s thoughts almost as if to support the vigorously modelled aura that unites the earth to the universe and man to divinity.
A more appropriate work could not have been chosen as an opening to the exhibition that evolves as if the past oscillated over the present, revealing spatial dreams that inhabit places which are hard to delimit.
Exhibited in the Vespasiano Gonzaga Torrazzo at Commessaggio are projects and drawings that show the variety of techniques Lanfredini employs to set down his initial ideas. Using this constant yet never restrictive practice the artist sketches minimal utopias for large spaces, grasps insights that translate into work processes that will take far longer and be far more laborious. He pursues controversial states of mind which he turns into a collection that is symbolically no less significant than the large works.On paper the symbols sow their ferment by showing what sculpture is able to express even with very little: the smallest lump of clay, a slightly thickened pigment making contact with the lines – some fact that is always crucial when transforming matter into different moods. These works set in the austere climate of Torrazzo urge the visitor to set off on the road from Commessaggio to La Silenziosa. The route is well suited to an ideal itinerary for sculpture, impregnated as it is with everyday moods and punctuated by the slow movements of meditation.
On the other side of the road from the small Santa Maria church is Cradle of the Wood (1998), a clay bird on top of a sparse wood made up of rushes of different sizes and shapes. The bird is suspended in the air as if driven by a premonition of the infinite. Its wings are open and ruffled by its effort to defeat the force of gravity and by the eternal obsession to fly beyond the visible borders of the void.
The eye is caught between earth and sky and the cradle of the wood becomes an icon in which the idea of a journey towards the unknown converges with the excitement of discovering nature’s invisible energies and with gathering the earth’s flavours to transform them into rhythms of light. A wholly imaginary dialogue is established between the isolated image of the church and the unexpected presence of the sculpture; there is a silent magnetism that eliminates distance so that the sacred aspect is united with that of natural feeling.
The relationship occurs as an interior rapport is established. The first breath of nature increases along with the flight of the sculpture. In the same way the image of purity of the religious setting is intensified – as tends to occur with art – as a threshold for meeting and communication.3. Another spot is the 15th century deconsecrated church of San Pietro in Gazzuolo where Lanfredini has positioned two works: Boat of precious woods inside the church, and on the short avenue in front Creative threshold which is immersed in the smell of the pine trees. Both works reflect the significance of the site. The large boat in the nave, a reference to Peter the fisherman, stands on a floor covered in wood chippings from the boat that when walked on create a water-like sound. There is nothing conceptual, tautological or metalinguistic about them. What emerges is an image full of lyricism and poetry, exactly like the verses to spill contained in the boat; a boat that navigates in the dream of a journey without limits. Small animal, human and plant-shaped jars contain verses that poet friends have sent over time and that are now an important part of this piece. To be held on 7 September 2008 Alberto Cappi has organised a poetry reading by the authors, or other narrators who will recite if the poets themselves are unable to attend. Participants include Anedda, Scalise, Bellintani, Frabotta, Roboni, De Angelis, Magrelli, Jaccottet, Bulla, Valesio, Ladik, Didier and others. A map listing the names of all the poets lies next to the small clay pots.
Clumps of terracotta as poetry, fragments that express wholeness: auspicious words that reveal secret sounds, murmurs that appear from unknown depths. Poetry should amaze but it can also simply communicate the distant echo of words, the profound nuances of things. The boat also contains whistles caught in the nets along with the fish, remainders of other dreams that have never ceased to seduce the artist’s mind. On coming out of this bare building –its bareness makes the spiritual references all the richer – one looks again at the threshold almost forgetting how it had looked from the other side and approaching it in a new light, where the air filters through the pine needles.
The sense of passing through is sovereign. Wherever he works Lanfredini likes to position his sculptures respecting the natural order. Here too the situation is suspended, there is nothing that can reduce the serenity the place affords.
He arranges all the tension around the space between the road and the church – opposing examples of the same human condition.
The journey to La Silenziosa starts again on the road and its daily traffic. It is here at La Silenziosa that all the creative stages of the artist are to be found. This living sculpture workshop is fully at home in this place wholly dedicated to nature, and where nature is a measure of all shapes and forms, without exception.(…)
(Italo Lanfredini – Luoghi, 2008, Ed. Casa del Mantegna, Mantova)

Manuela Zanelli

Of the evolution of Italo Lanfredini’s output, a possible interpretation concerns the various ways in which the spatial-temporal dimension of his work is articulated in relationship to various decisive moments and to essential considerations on his very way of being a sculpture. A
In the so-called Matrixes of the end of the Seventies Lanfredini resolves the metaphorical idea of the sculptor that “traces the world’s formation process” by splitting the unity of the piece, in itself finished, into two separate entities: one that receives the mother-matrix and the primordial one that separates it. This crucial intrusion of space into the closed form continues and evolves progressively as a limenal point and border that carries within itself the idea of both dividing and uniting as a dynamic state of being “between”, and of a limit-transit, passage and overcoming.
To the archetypical figure of the matrix involving sculpture as generating a primary form others are added to connote it as a practice of opposites. Representing the idea of place instead is the border that unites and divides outside and inside, this side and that side,  from the places of passage, crossing, overcoming and errancy.
Since the mid-Eighties’ sensory thresholds, Lanfredini’s sculptural space has now become viable and the labyrinth becomes a figure-itinerary that is whole, more complex and meaningful. The perspective of his work is thus overturned not only in that by incorporating concrete space it becomes its prevailing feature but in that it becomes a spatial project in itself, and interaction with the user becomes essential to understanding its meaning.
Now it is as if it were placed on the other side, on the side of the spectator. This alters the technical and linguistic rules of sculpture. It extends its function to embrace new possibilities that stretch from the practicability of the work to its positioning as a piece of architecture in a natural space, right up to the ritual connotation of an art operation in which the sculpture-site becomes a pivot for interdisciplinary practices. It now also stands as a reference point and crossroads of cultural and human experiences that cause a sense of inter-relational projection to emerge. Essential stages in this new perspective are more complex and more articulated design-works that fall between the task of the sculptor and that of the “builder of places”, where the sculptures are integrated into the natural environment and as such becomes a constitutive part that entrusts its own destiny and future through time to nature. Going beyond the concept of installation, his works are not intended to be seen so much as exiting from their own limits to engage with space. Instead, they interpret the site,  redefining it and making it poetic, revealing by their presence and their primary and archetypical language hidden values that yield to original nature and implied mythical and cultural memory.(…)
(Italo Lanfredini – Luoghi, 2008, Ed. Casa del Mantegna, Mantova)

Marina Travagliati

Signs, traces, fingerprints, scratches, grams, scriptures that prove When lock the flame and it come to life, come to light. These are signs of Lanfredini, which are given as eternal symbols. Some ancient signs, recovered, stretches out from other distant in time, living signs and in its everyday work, marked also by the constant work of the hands and a single thought as Ariadne’s thread leads to the center every day of creation. Signs of primordial elements, signs of water, earth, sky, fire signs, but also other memories, erased by time and the artist recovers and renews in a do completely original. Lanfredini not new to this operation to re-signification of the places first of all, but also the symbols and the signs by which we have lost the primary essence. To understand them we have to dig the surface, recompose the meanings that long overlapped, mixed, to become more, as we were faced with a sort of palimpsest erased from memory and rewritten of the artist’s. Agree then follow the process of formation leading the work. Lanfredini explores space and time and crossing acts from time to time as a scrupulous paleontologist or archaeologist or a historian and leave out anything in its path, closely following every trace. The gaze rests on a footprint imprinted in the mud, on a drop of resin leaking from the wound of the trunk of a tree, it picks up a rock here and there a piece of burnt wood, looks up the texture of a wall, hits spatial relationships of ancient and modern artefacts. Establishes and intense dialogue with artists from near and far in time, some openly exhibited Fontana, Brancusi, Melotti, Giacometti, other underlying, more intimate and I think of Klee, perhaps the most beloved of all, but also to Giulio Romano, Mantegna, Antelami and much ancient sculpture unnamed, but no less important. Besides poetry, which has always lived Lanfredini’s work, and of course, the song is the first expression of man, the oldest with the sign. Let’s go back to the sign, even in these signs. We see for example Garden, the artist offers here in the left margin and top a continuous line, a fence, and in the middle of a point, a center from which carries a hint of spiral, we still see Garden of Forking Paths, the fence is specified in a closed form and the center leave four lines, from last to see, a crooked cross out four areas at the center and four directions, two lines, one right and one left, cross the diagonals and between of these four signs: the four elements. The cross is a symbol of union between heaven and earth, matter and spirit, and it is also the symbol of the four cardinal points and the four elements. The artist represents the spaces that before being physical are symbolic, sacral. The meaning is never the work of secondary Lanfredini, which anchored the universal creates a system of signs, of relationships that surround and include man and nature, and it is manifested in the criticism of a technocratic civilization that instead leaves and heart human knows more subtleties (PP Pasolini). But we still see Dripping, Cosmos, Convoluted, Serpent, Tangle, where the movement creates the work in order never granted, slabs are carved and shaped by light, the energetic pulse of the artist’s hand is out to become the ‘ be. And the flame leaves us, at one time, the genesis and essence of artistic creation.

(Italo Lanfredini – Segni di Luce, 2011, Casalmaggiore, Cremona)


La pietra arde in schegge di suono
la sua voce è soffio che affila il
Il suo canto visita i cieli e gli abissi.
Quali domande avanza il tempo
prima che l’alito sia polvere e farina
d’astri prima dell’unghia e del cuore?

La terra è tempia che batte nel sole
nasce nei nidi del verde sterpeto
cova fuochi tra mani che pregano
di lontano il vento ascolta i brividi
le vuote rughe di pelle si alzano
in volo come uccelli smarriti.

L’acqua è un vetro che lungamente piange
per sciogliere il ghiaccio dei sogni
come un bimbo gioca tra i ciottoli
come un bimbo dimentica il gioco
la colora un accento di guizzi e spine
un nascosto respiro di specchi traditi.


L’anima degli elementi
e i passi
lenti del cammino.
Un gesto umano
una rapina
fuggiti in volo solo
la brina resta.
Un porto senza scalo.

                                                       Alberto Cappi

narrami in te
nel ratto della soglia
nella parola
che è tratta a Dio
io ero io

un taglio sul leggio

                                                   Alberto Cappi

Non altro hai che un resto
di parola un viaggio in
ore di silenzio il tenero
respiro inoltra un guscio
un muro un uscio al giro
del divino divenire

                                             Alberto Cappi

Poplar wood, terracotta and half refracoty materials and rope, cm 90x610x65

Antonella Anedda Angioy – Maria Attanasio – Pier Luigi Bacchini – Umberto Bellintani – Tolmino Baldassarri – Franco Buffoni – Hans Georg Bulla – Alberto Cappi – Dulce Chacon – Milo De Angelis – Gianni D’Elia – Nora Didier De Iungman – Flavio Ermini – Anna Maria Farabbi – Biancamaria Frabotta – Patrick McGuinnes – Philippe Jaccottet – Vera Kalmykova – Krzyztof Karasek – Vesna Krmpotić – Katalin Ladik – Giorgio Luzzi – Valerio Magrelli – Marco Munaro – Giampiero Neri – Leopoldo Maria Panero – Umberto Piersanti – Maria Pia Quintavalla – Giovanni Raboni – Cesare Ruffato – Paolo Ruffilli – Gregorio Scalise – Evelina Schatz – Charles Tomlinson – Paolo Valesio

WALL OF THE SONG, dal 1999

P. Acquabona  – L. Angioletti  – M. Artioli  – M. Attanasio  – P.L. Bacchini  – G. Baratta  – F. Bartoli  – L. Beduschi  – U. Bellintani  – M. Benatti  – G. Bendini Calzolari  – G. Bergamini  – G. Bernardi Perini  – V. Bertazzoni  – A. Bertellini  – D. Bisutti  – B. Brandolini D’Adda  – T. Broggiato  –  A. Cambria  – A. Cappi  – S. Carnevali  – G. Cavicchioli – T. Crivellaro  – M. De Angelis  – R. Di Biasio  – A. Ederle  – F. Ermini  – A. M. Farabbi  – F. Ferraresso  – G. Gaslini  – E. Grasso  – V. Guarracino  – V. Krompotic  – A. Lamberti  – R. Lo Russo  – E. Longo  – G. Luzzi – G. Maglia  – E. Malagò  – L. Mancino  – D. Marchi  – G. Maretti  – A. Marocchi  – D. Mattellini  – M. Molinari  – L. Monteverdi  – M. Munaro  – G. Neri  – M. Nicolini  – A. Noce  – G. Oldani  – G. Parenti  – F. Piavoli  – M. P. Quintavalla  – P. Ruffilli  – P. Russell  – E. Schatz  – F. Scotto  – G. Sica  –  C. A. Sitta  – F. Squatriti  – E. B. Terzet  – I. Travi  – L. Troisio  – P. Valesio  – I. Vicentini

WIND BIRTHPLACE, 1992-93 – Wood and terracotta, cm 460x300x200

Elio Filippo Accrocca  – Plinio Acquabona  – Pierluigi Bacchini  – Lidia Beduschi – Umberto Bellintani – Giacomo Bergamini – Mariella Bettarini – Ginestra Calzolari – Adele Cambria – Alberto Cappi – Rodolfo De Biasio – Arnaldo Ederle – Flavio Ermini – Giorgio Gaslini – Alessandro Gennari – Milli Graffi – Elio Grasso – Vincenzo Guarracino – Mario Lodi – Giorgio Luzzi – Leonardo Mancino – Davide Mattellini – Giampiero Neri – Milena Nicolini – Franco Piavoli – Antonio mPresti – Fabio Scotto – Giovanni Sias – Giancarlo Sissa – Carlo Alberto Sitta – Ranieri Teti – Ida Travi – Luciano Troisio – Raffaele Vaccari – Paolo Valesio – Ivan Vandor

SCERNITA, 1992-93 – Terracotta, variable dimensions (n. 2500 pieces)

Pierluigi Bacchini – Lidia Beduschi – Rita Bellintani – Umbero Bellintani – Giacomo Bergamini – Isabella Bordogna – Brandolino Brandolini D’Adda – Alberto Cappi – Roberto Cariffi – Mario Cattafesta – Giorgio Celli – M. Cervellino – R. Cogo – Raffaele Crovi – M. Ferrario Denna – L. D’Isernia – Flavio Ermini – Ivano Ferrari – Bianca Garavelli – G. Giudice – Milla Graffi – Vincenzo Guarracino – G. Larocchi – Mario Lodi – M. Majellaro – Leonardo Mancino – Franco Manzoni – Davide Mattellini – Isa Melli – Eugenio Miccini – E. Minarelli – Marco Molinari – Piero Moro – Guido Oldani – Giancarlo Pontiggia – S. Raffo – M. Rondi – Roberto Sanesi – A. Schieppati – M. Scrignoli – Frediano Sessi – Carlo Alberto Sitta – Mario Spinella – Ranieri Teti – Ida Travi – A. Ventura – Maria Luisa Vezzali – L. Zaniboni – Bambini della scuola I. Nievo e R. Ardigò di Mantova, anno scolastico 1992-93


M. Artioli, L. Barbera, F. Bartoli, L. Beduschi, F. G. Bolsi, F. Bruzzo, A. Cappi,  U. Carrega, S. Carnevali, R. Casarin, E. Cassa Salvi, M. Cattafesta, C. Cerritelli, G. Chiaramonte, P. Cortese, T. De Chiaro, G. Del Franco, G. Di Genova, D. Fileccia, G. Frazzetto, L. Granatella, V. Guarracino, E. La Cava, M. Leone, S. Malatesta, R. Margonari, D. Mattellini, S. Merico, E. Miccini, C. Micheli, A. Presti, V. Rosa, M. Ronco, A. Schiavo, P. Serra, F. Sessi, S. Sinisi, C.A. Sitta, F. Somaini, A. Somenzari, L. Spadano, L. Spiazzi, M. Travagliati, L. Trucchi, M. Zanelli


Museo Bargellini, Pieve di Cento (Bo); Museo Diotti, Casalmaggiore (Cr); MuVi, Viadana (Mn); Palazzo Te, Mantova