At the top of the park, there is a particular amphitheatre with an irregular shape where Brajo and Bettina used to organise little shows. After the restoration, it is possible to organise there concerts, plays and dance shows in order to pursue the idea of arts contamination that had the founders of this place.
[audio src="/wp-content/uploads/2022/07/ENG_Bociarius.mp3"]For a long time, a large number of imaginary animals made of wrecked cars and other different materials were scattered all over the park of the Fuseum. Afterwards, Brajo Fuso decided to collect all these animals in an enclosed space near the amphitheatre that was called Brajzoo. The name is a combination of the word zoo and the author’s name, Brajo.
[audio src="/wp-content/uploads/2022/07/ENG_Brajzoo.mp3"]The axle shaft of a little van and other scrap materials give birth to this bright-colours sculpture. Its name, Brancaleone, recalls the knight performed by Vittorio Gassman in the 1966 movie directed by Mario Monicelli. Brancaleone stands in front of the manor house to defend it, he is bold, brave and proud of himself, but in the end he is an ironic character, a bit clumsy, lucky but not capable. This artwork might represent a tribute to the Umbria region: in the movie, Brancaleone is from Norcia, a little town in Umbria, near the Sibillini Mountains.
[audio src="/wp-content/uploads/2022/07/ENG_Brancaleone-1962.mp3"]Only a few materials are enough to build a sculpture. In this case, a part of a metal pipe and two knobs of gas tanks give birth to an owl observing the visitor with its shiny yellow eyes and a projecting beak. This sculpture, which is severe and intimidating but harmless at the same time, encourages the visitor to imagine the variety of creatures that can be found in a fantasy world.
[audio src="/wp-content/uploads/2022/07/ENG_Civetta-Owl.mp3"]Brajo Fuso has an inclination to play with both words and objects. The Relegato (Re-legato, which can be translated into wrapped king) refers to an imaginary monarch whose power is limited to a confined space. This statue is made of concrete and scrap materials. It is funny and worrying at the same time and the visitor is free to interpret its meaning.
[audio src="/wp-content/uploads/2022/07/ENG_Relegato.mp3"]Brajo Fuso pays attention to the balance among different elements composing this artwork. As it is for other artists of the same period (such as Ettore Colla or Nino Franchina in Italy) or those artists of the Nouveau Réalisme in France, the aptitude of giving a new shape to scrap materials corresponds to the research of simple beauty, able to give dignity to something that in the past had a social utility.
[audio src="/wp-content/uploads/2022/07/ENG_Untitled.mp3"]Tanks of old motorbikes turn into an orchestra of wind instruments. The creativity of Brajo Fuso makes the visitor feel free to identify with these characters. Suddenly, the location turns into a theatre where they improvise a lively show.
[audio src="/wp-content/uploads/2022/07/ENG_Antropomorfi-1964.mp3"]Entering the Fuseum is like entering a world made of art and dreams. The yellow gate of the entrance road was designed by Brajo Fuso in 1963, together with the walls surrounding the various scraps in the area, like stones and concrete. Everything is joyful, colourful, with irregular shapes, and it is deeply hidden in the beauty of an oak forest where nothing is as it seems.
[audio src="/wp-content/uploads/2022/07/ENG_Cancellogiallo-The-yellow-gate-1962.mp3"]The secondary entrance to the Fuseum is characterised by a black iron gate with a regular shape. This has been made during the rational artistic period of Brajo Fuso, in which he made the Legni collection. In this period, the artist interchanges two different styles: a creative one (spontaneous, with no schemes) and a regular one with strict geometric features.
[audio src="/wp-content/uploads/2022/07/ENG_Cancellonero-The-black-gate-1964.mp3"]A simple wheelbarrow becomes a sculpture. From the profile view, a head, a prominent body shape, arms and legs can be seen. Brajo Fuso’s imagination has no limits and he shows, with this artwork, that he has a native capacity to personify objects.
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