Abstract
The visitor who discovered Penone’s first bronze sculpture at Lucerne’s Kunstmuseum in 1977 had no photographs to guide him. In the room where he discovered its four elements there was an intruder, which was, this time, blatantly obvious: an antique ceramic presented on a pedestal, under a plexiglass dome. The four bronze pieces that were surrounding it did not receive such consideration. One was placed on the ground, another in a corner of the room, and yet another was hung on the wall like ...
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