The Ettore Fico Museum in Turin is planning a monographic and anthological exhibition on Franco Garelli (Diano d'Alba 1909 - Turin 1973), one of the most important personalities of post-war Italian art defined by Lionello Venturi as "the greatest representative of Informal" of the twentieth century.

A retrospective consisting of over 100 works including painting, sculptures in iron, bronze and sheet metal, ceramics and the innovative Plamec (three-dimensional paintings in plastic material).

Franco Garelli was a friend and collaborated with Lucio Fontana , the Gutai group, Pinot Gallizio, the Cobra group, along the lines of an international research. Present at the Venice Biennials of 1948, 1954 and 1966 and at the Rome Quadrennials of 1951-52 and 1955-56, he was, with his art and his personal contacts, a very important ambassador of Italian and Turinese culture in the world which culminated in the personal room at the Venice Biennale in 1966 with the "sheet metal tubes" between Spatialism, Pop Art and Arte Povera. He was also among the protagonists of Spoleto 1961 - Sculptures in the city, one of the most important events for international sculpture of the twentieth century in Italy.

Garelli was the object of the attention of the major critics of the twentieth century from Venturi to Crispolti, from Tapiè to Dorfles. He collaborated with the major gallery owners of his time such as Carlo Cardazzo (gallery of the Cavallino in Venice and gallery of the Naviglio in Milan), with Palazzoli of the Blu gallery in Milan, the Stadler gallery in Paris, the Marta Jackson Gallery in New York.

He was an intellectual of the twentieth century, a war doctor and by profession, a teacher of Anatomy at the Accademia Albertina in Turin until he began to devote himself more and more exclusively to his art, stubbornly seeking his own lyrical and aesthetic path in it. , a personality capable of empathizing with the most lively research of his contemporaneity.

The sensitivity and commitment of a doctor combined with artistic sensibility gave life to a production of works in which man and his "form" are always at the center of the work, what was defined by Crispolti as "technological humanism" by Garelli. Garelli died in Turin in 1973 due to a degenerative disease.