The AddressThe dialogue between Giuseppe Uncini and Edoardo Caimi unfolds through a shared material vocabulary: concrete, iron, and structural frameworks, elements that belong to the language of architecture before they belong to that of sculpture.
While both artists engage with these same materials, they do so at opposite moments of their temporal trajectory. In Giuseppe Uncini’s work, reinforced concrete is the space of construction itself. Metal armatures, formwork, and raw surfaces are not concealed but revealed as essential components of the work. Sculpture becomes inseparable from the act of building, bringing into view what would ordinarily remain hidden. His works appear as architectures suspended in a state of becoming, caught at a moment when form has yet to reach completion. Edoardo Caimi enters this same conceptual space, but at a later stage in time: the structures that, in Uncini’s works, seem on the verge of construction become, in Caimi’s practice, relics, traces, and fragments of those very same architectures, now transformed into ruins. Here, materials are subjected to the effects of time, abandonment, and natural forces. These are structures that have survived their original function, remnants that generate new meanings precisely through their condition of incompleteness.
The notion of the unfinished (before and after) thus becomes the point of convergence between the two artistic investigations presented in the exhibition. Yet the unfinished is understood not as an interrupted project or an unrealized work, but as an intrinsic condition of constructed matter itself. Uncini focuses on the moment when construction remains open and unresolved; Caimi intervenes when that same structure has been eroded, altered, or gradually reabsorbed by its environment. Between the two emerges a temporal continuity: one constructs what the other rediscovers.
What takes shape is the possibility that architecture never truly coincides with a definitive form, and that every act of construction already contains the potential for its own ruin and future rediscovery. Matter thus becomes the witness to an ongoing process of transformation, in which construction and disintegration are not opposing conditions but complementary phases of the same cycle.
In the encounter between Uncini and Caimi, the structures on view stand as temporary organisms, suspended between what has been and what may yet become.
They inhabit a space of tension between construction and ruin, inviting reflection on time as something inscribed directly within matter itself.
The notion of the unfinished (before and after) thus becomes the point of convergence between the two artistic investigations presented in the exhibition. Yet the unfinished is understood not as an interrupted project or an unrealized work, but as an intrinsic condition of constructed matter itself. Uncini focuses on the moment when construction remains open and unresolved; Caimi intervenes when that same structure has been eroded, altered, or gradually reabsorbed by its environment. Between the two emerges a temporal continuity: one constructs what the other rediscovers.
What takes shape is the possibility that architecture never truly coincides with a definitive form, and that every act of construction already contains the potential for its own ruin and future rediscovery. Matter thus becomes the witness to an ongoing process of transformation, in which construction and disintegration are not opposing conditions but complementary phases of the same cycle.
In the encounter between Uncini and Caimi, the structures on view stand as temporary organisms, suspended between what has been and what may yet become.
They inhabit a space of tension between construction and ruin, inviting reflection on time as something inscribed directly within matter itself.
The exhibition continues The Address's programme dedicated to contemporary artistic research through dialogues between historical and emerging practices. Located in Milan, the gallery regularly presents exhibitions featuring Italian and international artists while fostering relationships between collectors, institutions and the wider public.
– BIO
Giuseppe Uncini (Fabriano, 1929 – Trevi, 2008) was one of the most distinctive figures in post-war Italian sculpture. After studying at the Art Institute of Urbino, he moved to Rome in 1953, where he came into contact with leading figures of the Italian art scene, including Edgardo Mannucci, Alberto Burri, Giuseppe Capogrossi, and Afro.
From the late 1950s onward, Uncini developed a body of work centered on construction processes and material experimentation. Following the Terre series (1956–57), he created the renowned Cementarmati (1957–61), works made of concrete, iron, and wire mesh in which the supporting structure was deliberately exposed, transforming the constructive principle itself into the subject of sculpture.
In 1962 he became a founding member of Gruppo Uno, a group that sought to move beyond Informalism through an investigation of space, structure, and industrial materials. Throughout his career he developed seminal series such as Ferrocementi, Strutture Spazio, Mattoni, Ombre, Dimore, Spazi di Ferro, Architetture, and Artifici, consistently exploring the relationship between sculpture, architecture, and construction.
His work has been featured in major international exhibitions, including the Venice Biennale and the Quadriennale di Roma, and is held in numerous public and private collections. Anticipating certain concerns later associated with Minimalism and Arte Povera, Uncini developed an independent artistic language in which the act of building became both method and subject.
Edoardo Caimi (1989) lives and works between Lodi and Milan. His work investigates
the contrast between the contemporary and the primitive, the technological and the tribal, the consumerist society and nature, short-circuiting these worlds against the backdrop of the modern imaginary of disaster. Drawing from suburban and rural periphery cultures, practices such as graffiti, the use of industrial materials and natural elements within cosmogonic and survivalist narrative frames, become elements in Caimi’s work to reimagine the contemporaneity of the era of catastrophe.
Recent solo exhibitions include an hour, several weeks, few centuries at The Address (2025), Requiem for the Future at Basel Social Club (2024), (((8))) at L.U.P.O., Milan (2022), A Year Without Summer at The Address (2019), and B.L.I.S.S. at T293, Rome.
His work has also been featured in numerous group exhibitions, including Remains – The Alchemy of Lost Memory at Spazio Barriera, Turin (2026), Al Lupo, Al Lupo! at The Address × Fondazione Clerici, Brescia (2024), Pelle d’Oca at The Address, Brescia (2021), When Urban Attitudes Become Contemporary Art at 21 Gallery, Treviso, Strawberry Hill at The Orange Garden, London (2020), Fortezza at Spazio Giacomq, Bergamo (2019), Turbosafary Never Dies But It Did at Ex Dogana, Rome (2018), and Post Graffiti Stress Disorder at the MARCA Museum, Catanzaro.
Edoardo Caimi
‘Among Your Embers’
2024
Iron, cotton rice paper and dye
140 x 97 x 3,5 cm
The dialogue between Giuseppe Uncini and Edoardo Caimi unfolds through a shared material vocabulary: concrete, iron, and structural frameworks, elements that belong to the language of architecture before they belong to that of sculpture.
While both artists engage with these same materials, they do so at opposite moments of their temporal trajectory. In Giuseppe Uncini’s work, reinforced concrete is the space of construction itself. Metal armatures, formwork, and raw surfaces are not concealed but revealed as essential components of the work. Sculpture becomes inseparable from the act of building, bringing into view what would ordinarily remain hidden. His works appear as architectures suspended in a state of becoming, caught at a moment when form has yet to reach completion. Edoardo Caimi enters this same conceptual space, but at a later stage in time: the structures that, in Uncini’s works, seem on the verge of construction become, in Caimi’s practice, relics, traces, and fragments of those very same architectures, now transformed into ruins. Here, materials are subjected to the effects of time, abandonment, and natural forces. These are structures that have survived their original function, remnants that generate new meanings precisely through their condition of incompleteness.
The notion of the unfinished (before and after) thus becomes the point of convergence between the two artistic investigations presented in the exhibition. Yet the unfinished is understood not as an interrupted project or an unrealized work, but as an intrinsic condition of constructed matter itself. Uncini focuses on the moment when construction remains open and unresolved; Caimi intervenes when that same structure has been eroded, altered, or gradually reabsorbed by its environment. Between the two emerges a temporal continuity: one constructs what the other rediscovers.
What takes shape is the possibility that architecture never truly coincides with a definitive form, and that every act of construction already contains the potential for its own ruin and future rediscovery. Matter thus becomes the witness to an ongoing process of transformation, in which construction and disintegration are not opposing conditions but complementary phases of the same cycle.
In the encounter between Uncini and Caimi, the structures on view stand as temporary organisms, suspended between what has been and what may yet become.
They inhabit a space of tension between construction and ruin, inviting reflection on time as something inscribed directly within matter itself.
The exhibition continues The Address's programme dedicated to contemporary artistic research through dialogues between historical and emerging practices. Located in Milan, the gallery regularly presents exhibitions featuring Italian and international artists while fostering relationships between collectors, institutions and the wider public.
– BIO
Giuseppe Uncini (Fabriano, 1929 – Trevi, 2008) was one of the most distinctive figures in post-war Italian sculpture. After studying at the Art Institute of Urbino, he moved to Rome in 1953, where he came into contact with leading figures of the Italian art scene, including Edgardo Mannucci, Alberto Burri, Giuseppe Capogrossi, and Afro.
From the late 1950s onward, Uncini developed a body of work centered on construction processes and material experimentation. Following the Terre series (1956–57), he created the renowned Cementarmati (1957–61), works made of concrete, iron, and wire mesh in which the supporting structure was deliberately exposed, transforming the constructive principle itself into the subject of sculpture.
In 1962 he became a founding member of Gruppo Uno, a group that sought to move beyond Informalism through an investigation of space, structure, and industrial materials. Throughout his career he developed seminal series such as Ferrocementi, Strutture Spazio, Mattoni, Ombre, Dimore, Spazi di Ferro, Architetture, and Artifici, consistently exploring the relationship between sculpture, architecture, and construction.
His work has been featured in major international exhibitions, including the Venice Biennale and the Quadriennale di Roma, and is held in numerous public and private collections. Anticipating certain concerns later associated with Minimalism and Arte Povera, Uncini developed an independent artistic language in which the act of building became both method and subject.
Edoardo Caimi (1989) lives and works between Lodi and Milan. His work investigates
the contrast between the contemporary and the primitive, the technological and the tribal, the consumerist society and nature, short-circuiting these worlds against the backdrop of the modern imaginary of disaster. Drawing from suburban and rural periphery cultures, practices such as graffiti, the use of industrial materials and natural elements within cosmogonic and survivalist narrative frames, become elements in Caimi’s work to reimagine the contemporaneity of the era of catastrophe.
Recent solo exhibitions include an hour, several weeks, few centuries at The Address (2025), Requiem for the Future at Basel Social Club (2024), (((8))) at L.U.P.O., Milan (2022), A Year Without Summer at The Address (2019), and B.L.I.S.S. at T293, Rome.
His work has also been featured in numerous group exhibitions, including Remains – The Alchemy of Lost Memory at Spazio Barriera, Turin (2026), Al Lupo, Al Lupo! at The Address × Fondazione Clerici, Brescia (2024), Pelle d’Oca at The Address, Brescia (2021), When Urban Attitudes Become Contemporary Art at 21 Gallery, Treviso, Strawberry Hill at The Orange Garden, London (2020), Fortezza at Spazio Giacomq, Bergamo (2019), Turbosafary Never Dies But It Did at Ex Dogana, Rome (2018), and Post Graffiti Stress Disorder at the MARCA Museum, Catanzaro.
Edoardo Caimi
‘Among Your Embers’
2024
Iron, cotton rice paper and dye
140 x 97 x 3,5 cm
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Via Felice Cavallotti 5, Brescia
Info@theaddressgallery.com
+39 333 680 0755
Opening Hours
Wed – Sat, 15-19