The power of Jørgen Haugen Sørensen's message reaches the public through his works, extraordinary sculptures, which dig into the soul, an antidote to indifference: The man with the dog is the exhibition of the Danish sculptor which from 29 May is hosted in Prato, in iconic spaces of the historic center. Organized by the Museum of Palazzo Pretorio, the exhibition develops in the ground floor spaces of the Museum, and then continues on a path through the city that touches the Emperor's Castle up to the medieval Cassero, which has just reopened to the public. Jørgen Haugen Sørensen, who has lived in Pietrasanta for years, is one of the most appreciated sculptors of our time, an international artist who has exhibited his works in highly prestigious spaces.

Haugen Sørensen returns to Prato after many years: it was 1983 when his works were exhibited in the city, even then outdoors, in different spaces of the city. The exhibition, spread throughout the various spaces and with free admission, aims to recover that contact with the public, giving a special summer to those who will be living the city in these months. Sørensen's dogs are something else. In the dogs of the Danish sculptor the ferocity, the lack of shame, the absence of morality emerge: it is a humanity without rules and laws, it is a condition still present in particular areas of the world. It is not meant to be a denunciation, but an observation of the fragility of the human being.

As survivors, the bodies appear tormented, almost torn in matter: for Sørensen, art becomes the means to express the injustices and tragedies of the time; language and form evolve together, through materials and technique, which the artist masters.

Anthropomorphic sculptures, modeled in clay, represent the metaphor of a humanity marked both by progress and by the contradictions that this entails. As involuntary participants in this game, Sørensen's nude figures seem to experience a chronic sense of guilt, which is visually underlined by the depiction of a rough, seemingly unfinished form. The surface seems rough, dramatically worked through the use of hands that infuse each sculpture with particular effects of contrast and chiaroscuro.