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il torrione a history of modernity

above and below: several important works of art litter the floors and walls of the tower's top two floors. above, red hands stretch from the center of the room to fingertips that blend into the wall. below, careful wirework makes for a fresh and interesting design on the tower's rooftop.

History necessitated the creation of the tower; now the building stands as a great piece of art in its own right. Perhaps the surprising sculptures and reliefs that appear now integrated in to the very structure of il torrione will one day be appreciated as yet another token of an age long past. Today, however, it remains a modern - even future-thinking - collection of avant garde works by Italian national artists.

Like the 16th century declaration to love God burnt deep into the smooth stone entrance, or the ornamental vandalism of inmates, the latest artistic additions are - for the most part - integrated neatly into the existing form of the tower. The effect heightens the comparison of new and old, placing contemporary art forms into a unique historical context. In fact, participating artists actually surveyed the tower before designing their contributions, allowing them to determine the space in which they would be working; the result is a carefully planned and well-integrated exhibit.

Indeed, some pieces are built directly into the wells and fireplaces that once served in those original roles for inhabitants of the tower. The effect is one of respectful reverance for the original architect, and for the men who once served among the town's first lines of defense.

One notable exception, however, is possibly the tower's most memorable piece. On the building's second floor - atop a narrow staircase - two red hands stretch from the wall toward the midpoint of the room. Rather than beginning in the wall with fingers outstretched, the long sinewy fingers actually blend into stone at the tips and espand toward crimson wrists - carved delicately in wood and painted to match the papier mache fingers - in the room's center.

The effect, according to caretaker and local historian Lucia Braccini, is both "violent" and "horrible," and yet the angry dissonance of the piece remains one of the tower's most striking and powerful statements.

Although most of the other works are more conscious of the space in which they are working, this did not necessitate that all of the artists work on a small scale; the majority of the entrance to the toweris barricaded by a bent metal relief that hovers above a circle of shimmering "moon dust." The piece, Magnetic Tension, serves as a warm centerpiece to the exhibits opening gallery.

Serving to remind visitors of the important relationship between old and new, a hollow rooftop chute that once direct rainwater to the tower's bottom level, is now filled with metal bullets and covered in plexi-glass; the effect mirrors the work's title, creating a River of Energy that draws a steady current across the building's topmost level. The piece is one of nearly two dozen that litter the top two floors ofthe tower.

The exhibit has grown steadily since the building was restored and reopened in 1990. All participants are famous nationally, and only one was born outside of Italy (in Greece). Mattiacci, the principle artist and organizer, is actually from Cagli; it was he who gathered the artists - friends and contemporaries - to make the project a reality.
fact: the tower has served many other purposes since its construction. for a brief time after the duke's rule, the tower served as a prison. the grafiti from inmates can still be found in many places throughout il torrione. in more recent years, the building became a haven for homeless drifters until renovations for the the exhibit began.

above: "magnetic tension" draws a careful line across the tower's top floor. the project is an old rain-chute filled with hunting bullets and covered in plexi-glass.

above: a work of art by paolo icaro offers a window that faces toward cagli. the work blends seamlessly into two of the building's adjacent turrets. below: the faded remains of the phrase "amodio" (love god) can be found at the top of its downward spiraling staircase.

fact: the exhibit has suffered from a lack of popularity, and is rarely open. a sign on the door suggests that it is open from 10-12 on saturdays and sundays throughout the year, but ms. brassini suggests that this is only true during the summer months (beginning in july). otherwise its doors open only by appointment.
New works are added every two years, offering a constant reminder of the tower's ability to grow and change with time while still remaining a historical landmark in Cagli.

While the project continues, however, the success of the exhibit should perhaps not be measured by its reception in Cagli. Many townspeople of all ages remain opposed to the art housed within the tower. Maybe they are concerned with what could be viewed as the desecration of an ancient landmark. Many works are, after all, built directly into the structure of the tower.

Ms. Braccini, however, prefers to believe that the townspeople simply do not understand the pieces. While this is to be expected, given the very abstract nature of the art, she is more concerned that they do not care to try to understand. In a country that gave birth to Da Vinci and Michelangelo, contemporary work does not receive the acclaim that it might in other regions or countries. Quite to the contrary, many local citizens have spoken negatively about the exhibit without even having set foot inside. Ms. Braccini cites a lack of culture as the project's greatest enemy, but insists that the work will continue. Still, an unimpressive showing during visiting hours has left the exhibit inaccessible during most hours, unless by appointment.

In the town of Cagli, new and old interact, engage, and integrate more and more each day. This dichotomy is acknowledged and epitomized by its towering landmark, where history itself serves as the ultimate backdrop for a new brand of artistic endeavor. And if the exhibit is not welcomed with excitement by today's Cagliese, maybe their children, or their children's children, will recognize this volume of work as an important part of history in its own right - younger perhaps, but no less valuable for its age.


il torrione	a history of modernity
above and below: several important works of art litter the floors and walls of the tower's top two floors. above, red hands stretch from the center of the room to fingertips that blend into the wall. below, careful wirework makes for a fresh and interesting design on the tower's rooftop.	History necessitated the creation of the tower; now the building stands as a great piece of art in its own right. Perhaps the surprising sculptures and reliefs that appear now integrated in to the very structure of il torrione will one day be appreciated as yet another token of an age long past. Today, however, it remains a modern - even future-thinking - collection of avant garde works by Italian national artists. Like the 16th century declaration to love God burnt deep into the smooth stone entrance, or the ornamental vandalism of inmates, the latest artistic additions are - for the most part - integrated neatly into the existing form of the tower. The effect heightens the comparison of new and old, placing contemporary art forms into a unique historical context. In fact, participating artists actually surveyed the tower before designing their contributions, allowing them to determine the space in which they would be working; the result is a carefully planned and well-integrated exhibit. Indeed, some pieces are built directly into the wells and fireplaces that once served in those original roles for inhabitants of the tower. The effect is one of respectful reverance for the original architect, and for the men who once served among the town's first lines of defense. One notable exception, however, is possibly the tower's most memorable piece. On the building's second floor - atop a narrow staircase - two red hands stretch from the wall toward the midpoint of the room. Rather than beginning in the wall with fingers outstretched, the long sinewy fingers actually blend into stone at the tips and espand toward crimson wrists - carved delicately in wood and painted to match the papier mache fingers - in the room's center.
The effect, according to caretaker and local historian Lucia Braccini, is both "violent" and "horrible," and yet the angry dissonance of the piece remains one of the tower's most striking and powerful statements. Although most of the other works are more conscious of the space in which they are working, this did not necessitate that all of the artists work on a small scale; the majority of the entrance to the toweris barricaded by a bent metal relief that hovers above a circle of shimmering "moon dust." The piece, Magnetic Tension, serves as a warm centerpiece to the exhibits opening gallery. Serving to remind visitors of the important relationship between old and new, a hollow rooftop chute that once direct rainwater to the tower's bottom level, is now filled with metal bullets and covered in plexi-glass; the effect mirrors the work's title, creating a River of Energy that draws a steady current across the building's topmost level. The piece is one of nearly two dozen that litter the top two floors ofthe tower. The exhibit has grown steadily since the building was restored and reopened in 1990. All participants are famous nationally, and only one was born outside of Italy (in Greece). Mattiacci, the principle artist and organizer, is actually from Cagli; it was he who gathered the artists - friends and contemporaries - to make the project a reality.	fact: the tower has served many other purposes since its construction. for a brief time after the duke's rule, the tower served as a prison. the grafiti from inmates can still be found in many places throughout il torrione. in more recent years, the building became a haven for homeless drifters until renovations for the the exhibit began. above: "magnetic tension" draws a careful line across the tower's top floor. the project is an old rain-chute filled with hunting bullets and covered in plexi-glass.
above: a work of art by paolo icaro offers a window that faces toward cagli. the work blends seamlessly into two of the building's adjacent turrets. below: the faded remains of the phrase "amodio" (love god) can be found at the top of its downward spiraling staircase. fact: the exhibit has suffered from a lack of popularity, and is rarely open. a sign on the door suggests that it is open from 10-12 on saturdays and sundays throughout the year, but ms. brassini suggests that this is only true during the summer months (beginning in july). otherwise its doors open only by appointment.	New works are added every two years, offering a constant reminder of the tower's ability to grow and change with time while still remaining a historical landmark in Cagli. While the project continues, however, the success of the exhibit should perhaps not be measured by its reception in Cagli. Many townspeople of all ages remain opposed to the art housed within the tower. Maybe they are concerned with what could be viewed as the desecration of an ancient landmark. Many works are, after all, built directly into the structure of the tower. Ms. Braccini, however, prefers to believe that the townspeople simply do not understand the pieces. While this is to be expected, given the very abstract nature of the art, she is more concerned that they do not care to try to understand. In a country that gave birth to Da Vinci and Michelangelo, contemporary work does not receive the acclaim that it might in other regions or countries. Quite to the contrary, many local citizens have spoken negatively about the exhibit without even having set foot inside. Ms. Braccini cites a lack of culture as the project's greatest enemy, but insists that the work will continue. Still, an unimpressive showing during visiting hours has left the exhibit inaccessible during most hours, unless by appointment. In the town of Cagli, new and old interact, engage, and integrate more and more each day. This dichotomy is acknowledged and epitomized by its towering landmark, where history itself serves as the ultimate backdrop for a new brand of artistic endeavor. And if the exhibit is not welcomed with excitement by today's Cagliese, maybe their children, or their children's children, will recognize this volume of work as an important part of history in its own right - younger perhaps, but no less valuable for its age.