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wisteria, plastic and copper
114¼ x 13 x 10.5/8in. (290 x 33 x 27cm.)
Executed in 1977-1989

This work is accompanied by a photo-certificate signed by the artist.
Galleria Christian Stein, Milan
Acquired from the above by the present owner.
Galleria d’Arte Moderna Villa delle Rose (ed.), Penone, Bologna 1989 (illustrated, p. 44).
La collection Christian Stein, un regard sur l’art italien, exh. cat., Villeurbanne, Le Nouveau Musée-Institut d’Art Contemporain, 1992 (illustrated, p. 217).
Collezione Christian Stein. Una storia dell’arte italiana, exh. cat. Valencia, IVAM Institut Valencià d’Art Modern, 2010- 2011, (installation view illustrated in colour, p. 318).
Turin, Galleria Christian Stein, Giuseppe Penone, 1989.
New York, Stein/Gladstone Gallery, Arte Povera Early Works, 1992.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Alessandro Diotallevi
Alessandro Diotallevi

Lot Essay

For Penone, nature is the universe providing the key to his artistic inspiration. He compares and confronts himself with it continuously and consistently; he "intervenes" with it almost as if to highlight the relationship man-nature. In his aesthetic this relationship is translated into a sort of embrace, in which the artist searches for traces of himself and, at the same time, pursues an "exchange" with nature that might enrich his life and inventiveness. Treccia (Plait) is a piece that helps to understand the process followed by the artist in his work: in 1977, Penone inserted, between the main trunk of a wisteria and a younger branch that had grown from it, a plastic element (a pipe) from which long copper wires protruded. Nature has followed its course, in the sense that the plant has grown, like all wisteria it is twisted, entwined, with an extraordinary network of branches and curves that almost constitute a wooden plait. The foreign element introduced by the artist has been perfectly absorbed, swallowed by the natural process, to the extent of constituting the final physiognomy of the plant itself.
Twelve years after the "graft", the artist, clearly satisfied by the completion of his "intervention", cut the wisteria, making it into a significant and emblematic example of his work. Treccia is now installed in our house, close to a large window, beyond which other wisteria remind it of its origins. It doesn't seem to have any regrets: in the meantime, it has become a work loved and admired by all.

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