By means of sculpture, wax, plaster and bronze, photography, collage and clippings, the exposition called Rosso: the unstable form presents a unique interpretation of the contemporary poetic spirit of the artist Medardo Rosso.

The archive research undertaken by the two curators, Paola Mola and Fabio Vittucci, shed light on some of the most obscure aspects of Rosso's twentieth century production, opening up completely new horizons regarding the univocal vision of his art.
The reconstruction of his production, by the display of 23 documented sculptures and about 100 photographic works, places in evidence certain fundamental questions on the relation between Sculpture and Photography. Rosso always worked using images of reality that had remained impressed upon his mind like improvised, fleeting apparitions.
With bronze and wax, Rosso seeks the dissolution of matter, creating sculptures which struggle against the very essence of statuesqueness, strongly influenced by shifting light.

Precursor and experimentor of styles, at the Salon d'Automne (1904), he displayed some photos of his sculptures next to Cézanne's Bathers.
And the paragon is inevitable: just as the French painter went beyond the laws of painting and prospective, so did Rosso invent a new sculptural language, venturing into "the unexplored realms of light and space, of the atmosphere and of the environment".

The Peggy Guggenheim Collection is bringing back to the light of day Rosso's hidden genius, offering to the general public and to scholars a new placement of this sculptor within his own historical complexity.