Veit Laurent Kurz is the winner of the Fourth Edition of the Battaglia Foundry Sculpture Prize, International Art Prize for young artists, dedicated to bronze casting. Veit Laurent Kurz wins a bursary, an artist-re-sidency happening in October 2109 in the new premises of Fonderia Artistica Battaglia and a solo exhibition of the artwork produ-ced during the residency. The exhibition will open in April 2020, during MiArt, Milan’s Inter-national Contemporary and Modern Art Fair.


The theme of the Fourth Edition of the BFSP is Negativo, the anti-form and the an-ti-space. Traditional lost wax casting process is based on a series of 5 positives/ne-gatives passages: the original model transforms in its own negative/anti-form twice before becoming eternal bronze. Negative space resists as a necessary state of the form itself, essential and crucial chamber of translation. How is it possible to render this indispensable passage into a self-standing form, and to be transformed into bronze? The fourth edition of the BFSP (2019/2020) asks the selected artists to inve-stigate the negative space, its anti-area, and anti-forms, and to explore their potential within the lost wax casting process.

After a careful analysis of the finalists’ projects, selected by a team of international curators and advisors, the BFSP Jury decreed that the winner of the BFSP#04 is Veit Laurent Kurz (1985, Germany) with the project “The Dilldapp Memorial”.


According to the Jury, Kurz’s project deals with theme such as trace and me-mory to align the interpretation of missing information in archeology with the reading of negative space.

The “Dilldapp Memorial” combines rigorously historical analyzes with mytho-logy and fiction. The project explores the archeological space and its evocati-ve potential. In Kurz’s work the excavation acts as conceptual tool for analy-zing life and death, desolation and hope. From a formal point of view, the artist presents a challenge between positive and negative, presence and absence, inspiring a process of analysis that ends up being both mental and physical. The artist’s sculptural environment creates an analogy between the eruption of the Vesuvius Volcano, in 79 BC, and an imaginary world, a sort of speculative ethology.


As the artist states in his BFSP#04 project proposal:

“When Pompeii and its citizens were covered by the ashes of the Vesuvius Volcano in 79 AD most of the city and surroundings disappeared forever. The fright of this drama-tic event got visible during the excavations in the 18th century. Archeologists discove-red scenarios that showed the violent and surprising destruction during the eruption. (…) A few years after the dramatic event of the Vesuvius eruption a myth was passed on, within various Greek, Etruscan and Roman texts of a creature that would find life in the landscapes of volcanic rock. Like a phoenix from the ashes, the so called Dilldapp finds its creation within this landscape. (…) Based on my interest in archeology, in this case volcanic landscapes that are shaped through lava and ashes made me situate this story in Pompeii. A place where negative and positive, are associated in a mental as well physical sense. (…) Excavation itself as a reconstructive process that deals with the active form of the negative and displays the uncertainty toward life in the past, drew my attention for this proposal. Missing information in archeology (eg. excavated architecture), can be interpreted as the reading of negative spaces”.


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