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The Life and Art of Piero Gilardi: An Ecological Artist and Activist

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Nicholas Vincent is a passionate environmentalist and freelance writer. He is deeply committed to promoting... Read More

Piero Gilardi, an Italian artist associated with the Arte Povera movement, passed away at 80. He became a famous figure at the height of the Arte Povera movement both for his sculptures that envisioned a total merger of technology and nature and for departing the commercial art world just as his work had found a solid collector base. Gilardi launched a career as an activist during the ’60s, returning to the gallery scene around a decade later. Museums in Europe and the US have become increasingly interested in his work in the past two decades, and a 2022 show at the Magazzino Italian Art museum in Cold Spring, New York, provided wider exposure to Gilardi’s practice.

Source: Museo MAXXI/Youtube

Gilardi’s “Tappeti-natura” (“Nature-carpets”), shaped polyurethane sculptures featuring images of natural objects like rocks, water, and grass, gained fame in the ’60s alongside his compatriots in the Arte Povera group. The “Nature-carpets” differed from other works in that they relied upon polyurethane, which is more commonly associated with mass-produced mattresses than sculpture. Gilardi meant for these works to be stepped on and even slept upon. He also used polyurethane as a clothing material for some wearable works that resembled trees.

Gilardi’s concept was to merge technology and nature and suggest a homeostasis whereby industrial processes and materials could help focus society on the nascent environmentalist movement. During the ’70s, he took part in workers’ protests and at one point even created a rubber effigy of Gianni Agnelli, the owner of Fiat. He also traveled widely during this time, absorbed what was going on in art scenes outside Italy, and brought it back home.

Gilardi’s later works increasingly included technology. His 2004/8 installation Bioma featured six interconnected parts that each dealt with the senses and perception. Vegetal Mutation, one of those components, featured physical leaves and digital ones. The latter would disassemble into fractal images when activated and could even be analyzed.

The Parco Arte Vivente, a Turin art space that Gilardi initially unveiled in 2008, includes an art gallery, a study center, and a large, outdoor space that has been used for earthworks and other ecologically minded pieces.

Gilardi wrote throughout his career, publishing articles early on in Flash Art and later assembling his essays in other books dealing with bio art. Gilardi’s works were the subject of a 2017 retrospective at MAXXI in Rome. Unlike many of his colleagues, he was never included in Documenta or the Venice Biennale, Europe’s two top biennial-style shows. He believed some in the art world were unreceptive to his non–“Nature-carpet” art because it proposed something too radical and urged others to change.

Gilardi’s commitments for decades to social, political, and ecological issues are essential in today’s world. His legacy serves as an inspiration for all artists who want to merge technology and nature and make art that serves a higher purpose.

In honor of his memory, we must continue to Support artists whose work raises awareness about environmental issues. It’s essential to recognize the importance of the relationship between art and nature and how it can inspire positive change in society. Let’s make an effort to attend exhibits that feature ecological art and spread the word about the importance of merging technology and nature. Together we can make a difference and help create a more sustainable future.

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