Forty years ago Carlo Riccardi transformed one of the most recognizable places in Rome into an open-air exhibition space. On 16 August 1986, in the heart of Piazza del Popolo, the artist symbolically wrapped the Obelisk with a gigantic painted canvas, giving life to a performance destined to become one of the most representative episodes of his artistic research. The intervention, remembered as the action with which Riccardi “tied” the obelisk, immediately attracted the attention of Romans and tourists. The traffic police also reached the square to understand what was happening. Behind what might have appeared as a provocative gesture there was a precise artistic project: to take art out of museums and galleries, bring it directly closer to people and use public space to draw attention to the protection of Italy’s artistic heritage.
Four decades later, the online newspaper ‘La Mixanza’ notes, the experience of Piazza del Popolo can be reread as an intuition capable of anticipating some elements that would become characteristic of Street Art and subsequent forms of artistic intervention in urban space. Carlo Riccardi developed this vision through his MaxiTeles and the Art on the Way project. These were large mobile works designed to appear temporarily in squares, monuments, villages and suburbs, for a day or even just for a few hours, without leaving permanent changes in the places involved.
The temporary dimension thus became an integral part of the work: art entered daily life, met the public directly and subsequently left space for the city again. The MaxiTeles reached numerous symbolic places in Italy and Europe. These include Piazza della Signoria in Florence, the Sala Nervi in the Vatican and locations such as Siena, Frankfurt, Barcelona, Basel and Ponza.
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