{"id":5783,"date":"2020-11-23T20:51:29","date_gmt":"2020-11-23T19:51:29","guid":{"rendered":"http:\/\/fondazioneartecrt.it\/artista\/icaro-3\/"},"modified":"2021-05-26T14:13:28","modified_gmt":"2021-05-26T12:13:28","slug":"icaro","status":"publish","type":"artista","link":"https:\/\/fondazioneartecrt.it\/en\/artist\/icaro\/","title":{"rendered":"Icaro"},"content":{"rendered":"<div>In the mid-1960s, Icaro began creating essential shapes in metal, expressions of forces and thrusts, torsions and rotations, almost as if to try out &#8211; through an idea of organic, corporeal movement &#8211; all possible articulations and disarticulations of sculptural form. To do this he shattered the rigidity typical of this discipline, breaking contemporary, minimalist segments, only to then connect them with chains, as if they were links created by an idea that destroys but does not forget the image of the whole.<\/div>\n<p><span>Icaro&#8217;s works in the collection all date from the 1980s and are distinguished by the use of plaster. The works from this period, perhaps the most significant in his career, were first presented in an exhibition at the PAC in Milan, in 1982. [&#8230;]<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-5783","artista","type-artista","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Icaro - Fondazione Arte CRT<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fondazioneartecrt.it\/en\/artist\/icaro\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Icaro - Fondazione Arte CRT\" \/>\n<meta property=\"og:description\" content=\"In the mid-1960s, Icaro began creating essential shapes in metal, expressions of forces and thrusts, torsions and rotations, almost as if to try out &#8211; through an idea of organic, corporeal movement &#8211; all possible articulations and disarticulations of sculptural form. 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