An extensive anthological exhibition that represents 50 years of career through a hundred works documenting the intense activity of this protagonist of ceramics, better known abroad than in Italy.
The exhibition, curated by Claudia Casali and Tomohiro Daicho, curator of the MOMAK of Kyoto, with the support of the Archivio Nino Caruso has already been set up in 2020 in the Japanese museums of Kyoto and Mino, co-producer of the MIC of Faenza.
Caruso had a very rich artistic and expositive activity that he put side by side with the didactic and editorial one. Caruso is the author of the most important ceramics manuals - translated all over the world - and his public interventions have been held at Galerie Les Champs in Paris, the Evangelical Church in Savona, in Japan at Tokai Hospital and City Hall, in Portugal at La Rotunda, in Coimbra. His sculptures can be found at the train station in Gijon, Spain at the metro station in Marseille.
Born in Tripoli in 1928 from a Sicilian family, in the 1950s he moved to Rome where he met Salvatore Meli and was introduced to Villa Massimo, meeting Guttuso and the artists and intellectuals of the Roman avant-garde.
"From the meeting with Meli I began, working for him, - says Caruso - to develop my artistic language".
Starting in 1965, he began to use polystyrene to make casting moulds in which he poured clay, revolutionizing his working method, in search of a new sculpture-architecture relationship.
He started a deep study of modularity that assumed a precise architectural function, a system that opened him significant collaborations with companies.
In 1966, he contributed to the constitution of the Italian Center of Art Productions (CIPA), assuming the role of secretary with the presidency entrusted to the architect Gio Ponti.
Since the mid-seventies he collaborated frequently with some American universities where he organized exhibitions, workshops and seminars. Gradually Caruso matured a vast knowledge of ceramic techniques, such as ancient ones still in use in Eastern civilizations, and learned directly, thanks to long stays in Japan, the most innovative experiments.
His wide production shows a particular attention to the themes of the ancient applied to modernity. Already from the works of his beginnings in the 1950s, considered primitive and influenced by Picasso, emerged a study on the tradition that was revisited later in his design production and in his work on urban and architectural spaces.
Authentic was his passion for Etruscan art, to which he dedicated entire cycles of his production, earning him important awards with works placed in public spaces as a tribute to this significant civilization.

The exhibition at the MIC in Faenza is planned until to October 9, 2022.