Exhibition homage to the plastic-sculptural research of the Master from Asti, an active experimenter of matter from the Second World War to the 2000s. The exhibition presents original "stratifications of materials", works kept in the Collections of the Eugenio Guglielminetti Foundation, created over five decades with the recovery of old woods, foundry moulds, work tables and wheels of agricultural carts, a forgotten and evocative cultural and artisanal heritage. "Four pink-colored sticks, a cobalt blue sphere, an arched axis with greenish reflections are enough to make me happy" ( E. Guglielminetti, "Conversation with myself" 1994). Childhood games in Valle San Pietro, peasant tools and mechanical gears from his father's workshop inspired his creative imagination.

From the drawings and monotypes conceived for the "Abstract and Concrete Art" exhibition in 1951 at the GAM in Rome and for the Venice International Biennale of 1950-1954, Guglielminetti begins to create structures in space with assembled materials: from iron rods and sheets originate "The Pelican"; " The net"; “The Armor”; "The warrior" (exhibited in the Garden and in the underground museum), while monochrome and polychrome woods compose "I circles", "Tondo", spherical bases with a rotating rhythm, abstract symbols animated by the chromatic intervention. The exhibited works accompany the visitor along the constructive adventure of Eugenio Guglielminetti, attracted by the international historical avant-gardes in a personal reflection on futurist, dadaist and constructivist experiences.

Between essentiality and emotion are born "The waterfall", "The man and the path", "The clock", "Totem", "The tree", "The eternal", in a suggestive "fantastic apparition of forms. The use of poor materials, unlike Arte Povera "transmits the sense of material sweetness and the transfiguration of this is of a fairy-tale type" commented Rossana Bossaglia and the allusive aggregations, such as "Organetto", "Aeroplano", "Il tempo" , become parallel testimonies to the pictorial and scenographic production for the purity of the language, the dynamism of the material. The most recent creations of the 90s-2000s reveal the expressive and amused synthesis of the Master, in the combination of various techniques, from painting to collage to scenographic fragment, on makeshift supports, assembled with forgotten objects, with curious tin figurines from the early twentieth century, resins and enamels: "The forge", "The machine", "The factory" offer emotions through metaphorical and symbolic suggestions.