Calzolari’s work is the least repetitive and predictable to be found in the art of the past fifty years. Similarly, his activity cannot be linked to preconceived schemes. For him art is a springboard towards transformation, making use of ephemeral and transient materials. Most recently a dialogue with history has become more pressing, a development of his aim of “creating meetings” which he had already spoken of in his 1969 essay La casa ideale.
The 2002 show at the Studio la Città was full of surprises: tables with objects floating in water and gold, white, and black monochrome paintings; an electric train bearing a saucepan of boiling soup and sheets of paper blackened by candle-smoke; an installation with clothes dancing in midair born aloft by clusters of balloons. Serenely variable modulations: dance, sculpture, and performance were led to new syntheses.