Ledro Land Art

Ledro Land Art is an artistic project, supported by the Comune di Ledro, to promote art and the territory of Pur, along the path beside the torrent that leads to Malga Cita.
There are about 20 works of art made of wood or metal by local artistis, hidden in the forest.

works of 2012:


The work of Paolo Vivian is a reflection on natural shapes and their material and figurative equivalents. The artist places a number of boulders in a clearing where the cows graze before reaching the mountain pastures. The natural toro lerdrolandartrocks spanning the history of the Earth are like clouds coming together and dissolving, taking on shapes that might resemble real or imaginary animals. The rocks are an earthly material and represent nature, while the clouds are the spiritual and ethereal aspect. By working on and with the stones, positioning them and adding iron components, the artist renders tangible previously undifferentiated presences that had gone unnoticed.


The aim of Viviana Puecher and Michele Filippi is to tell an unassuming story, setting off a fantastic train of thought dealing with the primordial essence of time and space. The work takes as its starting point a legend written by the artists for the Valle del Ledro. The physically unstable belongs to the kingdom of imagination, while stone becomes the tangible foundation of memory and awareness. Ignimbrite Riolitica, Trentino’s layered porphyry, gives material articulation to the legend constructed in narrative form. The installation reinterprets the language of Land Art and includes recognised and ancestral shapes. The rocks piled one upon another suggest a vaguely human form, the witch, who becomes the catalyst for the energies present in the woods and nature, returning them to those following the itinerary.


The swing is a strongly evocative object, inspiring personal thoughts and recollections. It recalls both the reassuring rocking motion of early infancy and the experience of a zoom: a visual field that widens and narrows in the vortex of speed. The swing is our first experience of almost flying. It moves alone in silence, and it is always there for us when we search it out, with its regular rhythm that helps us to reflect. The pine wood is also a reflective environment, mystical and at times spectral. By combining these two elements Rossoscuro Design has created a dreamlike and surreal atmosphere, where spirits can find repose and humans an unusual moment of meeting or solitude. The trunks stretch upwards and hold the chains that join the pines into couples. These chains underline the verticality and immobility of the trees when the wind or a human presence sets them in motion.


The main sources of inspiration for the work of Alessandro Pavone are the need to protect the environment and the local traces of human life in the form of archaeological remains.

The rough hands of those who in the past lived on and worked this earth are the subject of the huge sculpture by Pavone, who carved trunks piled in the centre of a clearing for days, working quickly and confidently with the blade of his chainsaw, to give shape to the immense hands in natural wood, now entrusted to the forest and the seasonal cycles. These are hands that speak, using that special and suggestive vocabulary of gesture, that caress the sky, gather the rain and the sun, greeting the trees all round and beckoning to human observers.

Left to the forces of nature and freed from the weight of their material, they rest on their backs, showing the palms that bear the marks of life just as the trunks from which they are made.


Matteo Boato puts forward the idea of a musical instrument as an element built by humans and returned to a natural environment. The bridge of a violin reproduced on a large scale in oukumé wood is an artefact that establishes a physical but also an acoustic relationship with its surroundings, setting up a dialogue between local sounds and the notes produced by the instrument. Four steel strings stretched to either side of the bridge render the instrument playable. Since it is located at the only point on the itinerary from which it is possible to hear the sound of the nearby stream, the murmur of the water has pride of place in the discourse with the strings. And the bridge, in addition to allowing the strings to be drawn, also sends the soundwaves downwards. In a conventional bowed instrument this means allowing the sound to enter the sound box to be amplified. In the artist’s work, on the other hand, the sound reverberates almost imperceptibly through the earth, turning the whole wood into a sound box.


It is not unusual, while out walking in the pine wood of Pur, to come upon snails with their ‘houses’ on their backs, dragging themselves over the grass, pine needles, river sand and woodland earth, leaving behind a silvery, sticky trail. 'Ever since I was a child, I’ve always thought of these molluscs, at once armoured and defenceless due to their slowness, as so much in love with their surroundings and life itself that they actually remain stuck to things’, says the artist, who also points out that the snail prefers to take on the challenge of the stone that it finds in its path rather than just go around it. Bending and soldering old scrap metal rusted with time, Corrado Rosa has built a huge snail that, having passed a boulder, is heading for the water of a nearby mountain river. The colours of the snail evoke those of the earth, bark, dead leaves and old iron. The rocks and granite are what nature has preserved, the iron that which human beings return to nature.


Two designers who take on the landscape, who observe it with a gaze poised between a desire to rush through it all at once and to pause on the details without getting lost along a visual itinerary that continues, pushing the horizon ever forwards. They have set up a large-scale installation that involves interplay between weights and balances, a sort of trait d’union between earth and sky, between graphic mark and landscape, between the movement of the eye and planes of vision. This project by Marco Salvaterra and Milos Stojanovic is intended as a study of the types of impulse and accomplishment that can be gleaned from the potential power of the venue for the installation. Lightness and articulation of natural materials found in situ used as catalysts for natural energies and atmospheres that alter their appearance in time, progressively changing it and finally absorbing it. A great accent that offers itself as a new three dimensionality to be discovered, challenged and used, moving the weight of space from force to action.


Luca Degara’s work sees generous dimensions twinned with lightness of materials. The local larch-wood was worked in such a way that all of the pieces come from a single trunk cut lengthwise and then bent using steam.

The elements are delicately positioned on the meadow and live in relation to the environment surrounding them. The work is placed in a sort of corridor of the pine wood and, at the point where this corridor bends in one direction , the work also ‘bends’ to follow its path. Like the skeleton of an animal, it lies half-buried waiting for nature to take its course.

The Vault is an installation that seeks harmony and dialogue with its place. It is a space that like the wood encloses, delimits, but without ever completely isolating, creating a balletic movement between light and shadow, the self and the world. The work can be passed through or used as a shelter, allowing thoughts to emerge while one is seated in its interior.

works of 2013:


The two shapes that develop following the outline of the trees suggest the presence of an old man holding a child by the hand. The theme of the ages of life has been dear to art of all times, and in a natural environment it takes on new details and overtones. The action of walking recalls the effort made in life to meet challenges and adversity, crossing paths that may sometimes be so inaccessible and unknown as to require a guide: someone who has already walked them many times. Progressing through the pine grove means trusting nature, which offers its slow rhythm, calm and aware, similar to the unspoken wisdom of old people. The wood and rusted sheet metal also represent time that passes and slowly transforms.

HOW WE DWELL (MAKE YOUR OWN RESIDENCE): Marco Gobbi, Cristiano Menchini and Adriano Valeri - 'LIKE WOOD MOBILES'

'Like Wood Mobiles' is a dwelling for two individuals suspended between two trees, an intimate and reflective shelter, enduring but still shifting with the movements of the atmosphere, and finding inspiration in the kinetic art of Alexander Calder. The principles of movement and balance that emerged in the art of the American sculptor with his 'mobiles' are given new shape in the How we dwell (make your own residence) artefact, which transfers them to the landscape, giving them not merely an aesthetic but also a habitative function.
The project is developed around the concept of artistic residence, of occupancy for the purposes of executing an artefact. The three artists, who live within the work as they build it, make this moment the heart of their activity, in which the process of living and working on the various stages of execution of the piece become an integral part of it.


Andrea Gaspari rebuilds a new, strange and fanciful tree, piece by piece, starting with the trunk of a felled pine. He then fits sections of various other trees to the trunk, cutting and assembling the timber until it creates a mosaic of pieces that make up a presence which blends discretely with the pines along the trail. This is a tree lost in a dream, whose branches reach out unusually, tangling in spirals, curling and twisting in a way that reflects its own essence, carried away as it is by its own loving rapture. One of its branches stretches out in the act of offering a red rose: to another tree, to the wind, to the whole pine grove or to those wandering within it.


The reflections of Pietro Gellona and Maurizio Vescovi on architecture and the landscape, art and nature take on the shape of a sphere. A geometric solid that only human action and not the forces of nature could produce in this type of environment, it is composed of a central core made up of circular sectors in wood, covered with zinc mesh and slabs of grassy turf. The layer of plant matter breaks up the smooth and perfect uniformity of the sphere, recalling the irregularity of plant life and adding a tactile element to the solid. Like a marble rolling along the trail that has been marked out, the massive plant globe is placed right in middle of the path, rerouting visitors around the work to trace a new track that circumscribes it.


At first this seems to be a furrow, or perhaps a burrow dug by an animal. As we come nearer it looks more like a passage, a void ready to receive us. Examining the work more closely we discover the negative impression of that most receptive of all parts of our body: a mask sunk into the ground, examining it, listening to it and breathing its scent from within. To make the cast of these faces, Micol Grazioli sinks her own face into in the earth, holding her breath, searching out communication with nature. In seeking this contact, she bends down to the ground in a bow that is a form of respect, the same thing happening every time visitors to the pine grove approach to the faces to observe them more closely. The natural environment enshrining the installation is defined by moss, grown by spreading spores on the ground and on the tree trunks.


Four wooden beams lodged in the earth mimic the verticality of the pines. These are four stylised trees, the geometric synthesis of their shape and their direction, and they are four antennae reaching up to the sky to capture and pass on new suggestions to the sonic landscape of the pine grove. They gather frequencies, waves and vibrations from the air, distil these volatile elements to pass them on to the pine grove discretely, where they mix and blend with the sounds already present, until a dense and rarefied dialogue is established, either rhythmic or cadenced depending on the time of day, on the weather and the season.
A small 'crystal radio' is set into one of the beams, a very basic apparatus built by the artist with copper, a germanium diode, a small amplifier powered by solar energy and a magnet wrapped in copper that causes the wood to vibrate along its whole length, as you can feel if you put your ear to it.


Roberta Rizzi and Caterina Agazzi's project involves overlapping jute sacks filled with a mixture of soil, stones and grass seed that mark out a pathway, a reflection that moves between the artistic, the architectural, the historical and the naturalistic. This installation finds its definition in time through the slow breathing patterns of nature, offering itself to the cycles of the seasons. The reference to a trench is connected to historical memory, becoming a defensive space in which even nature can camouflage itself and redefine its limits. The work also refers to the architecture of the labyrinth as a place of loss and exploration.
In time, germination of the seeds inside the sacks will render the artefact an integral part of the landscape, like a sort of new romantic ruin.


An absolutely simple object marks out a new stretch of trail and creates a short circuit. An oversized broom placed out of context, which looks like those sorghum brooms capable of carrying the flying flight witches who once inhabited also the Ledro Valley, or used by women to sweep out their dusty houses. We have no idea what sort of creature could use this huge implement, but the vigour with which the soil has been cleaned has left a groove, a track that opens a breathing space where new flowers can grow. A powerful still image that is nonetheless in continuous transformation, where nature produces its work-in-progress by taking possession of the space produced by the restorative action of the broom, in a series of steps that progress frame by frame, as in a stop-motion sequence.


works of 2014:


The wooden elements placed sequentially are remains making up a huge face emerging from the earth. Wedged between inside and out, suspended between past and present, they seem ancient ruins that the earth has once again allowed to prosper and that nature wishes to re-appropriate. While grasses grow from its cracks and small animals hide here and there, this great face waits for the rays of the sun and drops of rain. And while its eyes observe the movement of the clouds in the sky and its ears listen to the pulsing of the earth, whispered words come from its mouth, telling age-old stories of the wary giants, ancient warriors and forgotten deities who once dwelt in the pine forest.


Made of hazelwood woven and wound around the trees, this circular structure with a varying outline develops uninterrupted. It draws a line but also marks an opening on that effort, all too human, to understand the infinitude of nature. Limite infinito (Infinite Limit) is the synthesis of an opposition, in which the limit is an attempt to measure, modify and control space and time, the infinite is that of the cyclical essence of nature, which, silent and apparently immobile, continues to sustain life. And within which human beings build their ideals of the finite, weaving fragile constructions of their own lives.


The umbral cone is a fundamental geometric element in the theory of eclipses. When the moon's umbral cone casts its point on the Earth an eclipse of the sun occurs, recalled here by the fire with which the three sculptured trunks have been blackened and obscured. The image of the cone evoked by Marco Nones as a metaphor of the creative condition defines the contrast between shadow and light with a strong symbolic value similar to that between the rational and the irrational. The umbral cones thus become a sort of passage in which the individual is free to draw on the unconscious, and nature to reproduce without being tamed, according to changing and sometimes unpredictable forms of logic.


Giampaolo Osele plays with nature, rediscovers it and puts it back together with delicate essentialism. The curious little face of a hedgehog thus peeps from a large tree trunk. Popping out of one of the many hidden lairs in the pine forest, this charming little animal pauses along the path to tell anyone passing of the secret habits of its companions, who join it only at evening to set out and hunt for the many insects that damage human crops, and even for mice and snakes. Modelled in a stylised manner out of larch, hazelwood and laburnum, this shy, gentle and useful animal presents us with that simple, guileless, fresh and uninhibited side of nature that acts as a regenerating energy, a resource and an inspiration.

La valle di Ledro

What you can find at Lake Ledro and surroundings

> lago di Garda 15Km
> Milano 200Km

> Brescia 80Km
> Verona 90Km

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