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Francesco Arena (b. 1978, Torre Santa Susanna, Brindisi, Italy) lives and works in Cassano delle Murge, Bari, Italy. His practice explores the relationship between history, memory and sculpture. His work develops from the geometric language of Minimal Art and the more archetypal forms of Arte Povera, combining their abstract and impersonal character with personal experiences and historical narratives. Arena’s works often begin with a specific fact, number or measurement connected to a particular event or story. A weight, distance, volume, surface or sentence becomes a fixed point in the process, determining the form, dimensions and sometimes even the materials of the work. In this way, historical events are translated into physical and sculptural forms.
His practice moves between collective and personal history, with the two continually overlapping. Everyday objects — such as diaries, cigars or pieces of furniture — appear alongside traditional sculptural materials including marble, slate and bronze. Rather than illustrating a particular event, Arena abstracts its underlying data, transforming it into a physical form that remains open to interpretation.
His sources range from personal experiences to collective memory and historical events. While his earlier work focused largely on Italian history, his research has increasingly expanded towards global events and situations, using sculpture as a way to give form to the traces that history leaves behind.
His practice moves between collective and personal history, with the two continually overlapping. Everyday objects — such as diaries, cigars or pieces of furniture — appear alongside traditional sculptural materials including marble, slate and bronze. Rather than illustrating a particular event, Arena abstracts its underlying data, transforming it into a physical form that remains open to interpretation.
His sources range from personal experiences to collective memory and historical events. While his earlier work focused largely on Italian history, his research has increasingly expanded towards global events and situations, using sculpture as a way to give form to the traces that history leaves behind.
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