Born in Florence in 1940, died in Rome in 1971. Within a “long” decade (1958-1971) the research of Paolo Scheggi went through different fields of knowledge and different disciplines, from visual arts to architecture to fashion, from poetry to urban and theatrical performances to arrive at a conceptual and metaphysics reflection. Characterized by a strong interdisciplinary approach, the route taken by Paolo Scheggi may be condensed in interpretation given by by Giovanni Maria Accame in 1976: from the exhibition of the project to project of the exhibition. In Milan since 1961, he holds a vibrant collaborative relationship with Germana Marucelli for whose redesign the spaces of her tailoring, that will be inaugurated with the parade of optical dresses in the spring of 1965; then comes into contact with new research in the Lombard capital, attending the group around Azimuth and the first exponents of arte programmata, while Lucio Fontana, since 1962, follows his research carefully. In 1964 Carlo Belloli ascribes him among the i 44 protagonisti della visualità strutturata, in 1965 he’s ascribed by Dorfles among members of the Pittura Oggetto, in the same year he joined the movement nove tendencije, and holds international contacts, especially in northern European area, where he exhibited more occasions and participated in group exhibitions Zero and Nul. Fundamental is also the architectural and environmental direction that his research undertaken since 1964, working and confronting with Nizzoli Associates (Mendini, Oliveri, Fronzoni), Bruno Munari (Sala Experimental Film, Milan Triennale in 1964) and resulting in the Intercamera plastica created by the end of the 1966 and presented in Milan at Galleria del Naviglio in January 1967. Since 1968 he opened his investigation towards theater and performing arts, addressing the overcoming of the traditional space of the stage and the gallery and extending it into the city (note his Marcia Funebre o della geometria for Campo Urbano in Como, in 1969, and the performance Oplà Stick held in Milan’s -Galleria del Naviglio, Firenze-Galleria Flori and city streets, Zagreb Student Center Gallery, for nove tendencije 4, 1969). During the last two years he is engaged in a conceptual research culminating in the Sette spazi recursivi autopunitivi (never realized), the seiprofetiperseigeometrie and the Ondosa environment, yet to be investigated in their complexity. He was present at the Venice Biennale in 1966, 1972, 1976, 1986, Scheggi exhibited in some of the major artistic events of the time, from Paris to Buenos Aires from New York to Hamburg, Dusseldorf to Zagreb.
The Cannocchiale ottico percorribile was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should…
- Paolo Scheggi