The exhibition design is conceived in order to establish a physical relation between Kazuko Miyamoto’s fragile works and the open, wide and bright space of the upper level of Belvedere 21. The large open space imagined by Karl Schwanzer in 1958 is embraced by a squarish ring that repeats its geometry and incorporates the two stairs introduced with the restoration designed by Adolf Krischanitz in 2007.

Miyamoto’s multilayered, radical works defy simple categorization and attribution: they find their starting point in Minimal Art, but go beyond its strict geometric abstraction. Her impressive string constructions—two- and three-dimensional works consisting of hundreds, sometimes thousands, of nails and cotton threads—as well as her later works made of twisted paper ropes and painted kimonos convey a strong, corporeal presence in space despite their ephemeral character.

The exhibition was conceived by MADRE · museo d’arte contemporanea donnaregina, Naples, and is accompanied by a comprehensive publication.