On the occasion of the completion of the restoration work that has returned Palazzo Vitelli a Sant’Egidio in Città di Castello—owned by the Fondazione Cassa di Risparmio di Città di Castello—to its former splendor, the Associazione Palazzo Vitelli a Sant’Egidio, an instrumental body of the same foundation, in collaboration with the Fondazione Palazzo Albizzini Collezione Burri, has organized an exhibition titled “METALLICA. Sculpture in Italy 1947–2025.”

The Association, which among other responsibilities is tasked with managing a Center for Documentation of Contemporary Arts in specific areas of Palazzo Vitelli a Sant’Egidio—currently in the process of being activated—aims to provide a wide audience with information and documentation on artists, art movements of recent decades, and cultural events at regional, national, and international levels. With the exhibition “METALLICA. Sculpture in Italy 1947–2025,” curated by Bruno Corà and conceived specifically for this occasion with artworks by significant Italian artists from the past eighty years, the Association intends to preface the inauguration of the Documentation Center. The exhibition also offers the public a chance to view the environmental enhancement, space consolidation, restoration, and decorative works carried out on the building.The exhibition features twenty-nine artists whose sculptures are displayed across the fifteen rooms of Palazzo Vitelli. The artworks are self-supporting and thus do not require the use of the walls, allowing the viewer to freely appreciate the important frescoes and other decorative elements within the Renaissance building. Regarding the selected artists, the exhibition’s curator Bruno Corà stated:“The selection of works chosen for this event, all sharing the common denominator of metal, does not claim or aspire to be exhaustive with respect to the richness of plastic expression in Italian art. Rather, it seeks to represent an emblematic and exemplary overview of forms that have emerged on the artistic scene from the post–World War II period to the present day.”In this sense, from Lucio Fontana’s spatialist sculpture of 1947 to those of Melotti, from Colla to Pomodoro, from Mirko to Cagli and others, up to the works of contemporary masters still active today—such as Isgrò, Ranaldi, Mainolfi, Salvadori, Rizzoli, Protti, Bassiri, and more—each piece has been placed within a path that highlights the protean identity of Italian metal sculpture in relation to other international contexts.

During the exhibition, it will also be possible to visit the areas dedicated to the collection, classification, preservation, study, and dissemination of materials that will be acquired by the Center in the course of its future activities.