Mauro Staccioli: A Point in the Landscape, Between Emptiness and Direction

In the Mignola Park of Malcesine, created through the vision of Ruggero Togni, art was conceived as a living part of the landscape. Within this context, Mauro Staccioli’s intervention took shape—a sculptural presence capable of establishing a direct dialogue with the natural space.

From the steep side of the garden emerged an inclined structure with a triangular cross-section, approximately fifteen meters long: a sharp, rigorous mark that integrated into the terrain without imposing itself, but rather highlighting its lines and tensions. The work stood as one of the most significant interventions in the park, in continuity with the research already initiated by Gianfranco Pardi and within the broader project that also involved Alik Cavaliere.

Staccioli’s sculpture was designed to “draw” the space: an essential form, seemingly light yet built with solid materials, capable of working on the void rather than the mass. Its role was not to modify the landscape, but to make its relationships perceptible, guiding the eye between the lake and the mountain’s profile.

In this tension between presence and environment, the work generated new modes of visual perception, transforming the experience of the place into a deeper and more conscious reading of space. Through Bob Tyson’s photographs, the dialogue between sculpture and landscape was captured in images capable of conveying its atmosphere and intensity, allowing the subtle balance between form, nature, and the observer’s gaze to emerge.