The World's Biggest Sculptor

摘要

In the world of contemporary architecture, the work of Massimiliano Fuksas presents us with the interesting enigma of belonging to a border zone. As part of the unstable equilibrium that defines his social and political aspirations, and in order to survive as an artist in the evolved system of Western capitalism, Fuksas chose to transform himself into a professional and continues to work as though architecture was an art. Educated in Rome in the midst of the crisis of the Modern movement in the critical school of Bruno Zevi, he began by building primarily public buildings: the town hall, the school and the cemetery, typologies that mark the passage of human existence. During the 1980s, in a gesture of refusal towards the mire of Italian culture, he sought refuge in France, where he confronted public architecture with the violence of a rigidly open and expressive approach.