From the early 1960s onward, Ugo La Pietra focused his research on the “synesthesia of the arts.” These urban intrusions, intended to create tension with the existing context, must stimulate in the individual a more sensitive and emotive perception of the work and its context, and ultimately a more critical point of view with regard to the city. The pieces Museo, Museo città di Milano and Casa per un scultore are clearly in line with this idea, imposing their presence through the expressionism of their sculpted and modeled masses. A genuine sign of denunciation, their brutalist presence establishes a critical and contradictory rapport with the urban environment, announcing the concepts of the “unbalancing system” that La Pietra began developing in 1967.
