Renato Nicolodi’s spatial installations solidify time and space in motionless mass of concrete. Not a trace of human presence, or maybe indirectly, as a soundtrack with accidental sounds in the background. As if the human hand was never involved.

Nicolodi’s installations refer to archetypical architecture models. Real and ambiguous signs of timelessness and duration. At the same time, paradoxical signs. They are monoliths of a recent date and visual anchor points. Mental beacons in a time in which society found itself in a gigantic digital momentum where everything is questioned: science, technology, nature and the role and identity of man in it.

His architectonic models have a minimalist import. His systematic, dry approach gives these models a classical austerity, which which Renato follows in the footsteps of the language of forms of major Utopian architects such as Etienne-Louis Boullee and Claude-Nicolas Ledoux. Renato’s spaces start out from a mathematically-ordered grid. The spaces are arranged and organized departing from the stereotomic figures such as cubes and pyramids; perfect and introverted in their abstract, purified form.

They are typological signs from our collective memory with names such as Mausoleum, Observatory, Belvedere, Atrium, Panopticon. Nicolodi’s installations translate themselves as abstracted monuments that, in their plastic isolation, in turn raise questions about the role, legitimacy and ambiguity of the historic consciousness in our society. No one remains unmoved by the vital questions.