Choosing the horse as a sort of interpretative module of artist Marino Marini, I invited students to notice the study of the form of various exemplars in the museum, transforming them later into a concept to hold on to at the end of the experience. One immediate and primitive way to study a pre- existent form and the subsequent transposition of the form itself into something approachable even by those not endowed with might be called manual skills is “tracing with aluminium foil.” Covering parts of sculptures with a material we are used to having around us every day, such as aluminium foil, I ask participants to choose the details that intrigued them the most, and then to reconstruct a horse to be used as a starting point in order to make a new, collective steed created by a multitude. At the end of the study phase, the strucure of the form is rendered in soldered iron, which in turn is covered with tissue paper. The choice of the diverse materials serves to give an overview of differing means, from monumental sculpture to the light and ephemeral.
In the end, during the face-to-face lessons held at the museum and at school, interviews were recorded and then projected during the final exhibition in which the people interviewed explain the object that they imprisoned within tissue paper, commenting also on why they did so.