(1940 in Florence, Italy – 1971 in Rome, Italy)
Scheggi was born in Florence in 1940, but he died at a young age in Rome in 1971. Within a long decade (1958-1971) the research of Paolo Scheggi went through different fields of knowledge and disciplines including, visual arts, architecture, fashion, poetry, urban and theatrical performances, conceptual and metaphysics reflection. Characterized by a strong interdisciplinary approach, the route taken by Paolo Scheggi may be condensed in the interpretation given by Giovanni Maria Accame, ‘from the exhibition of the project to project of the exhibition’. Since 1961, he had a vibrant collaborative relationship with Germana Marucelli for whom he redesigned a tailoring studio, inaugurated with a parade of optical dresses in the spring of 1965 in Milan. Soon, he encountered new research in the Lombard capital, attending the group around Azimuth and the first exponents of Arte Programmata. In 1964, Carlo Belloli ascribed Scheggi among the fourty-four protagonists of Visualità Strutturata. Furthermore, in 1965, Scheggi was included by Dorfles among the members of the Pittura Oggetto and in the same year he joined the movement Nove Tendencije and developed international contacts, especially in Northern Europe, where he exhibited in numerous occasions and participated in group exhibitions as a member of the groups Zero and Nul.
In 1964, Scheggi’s research undertook an architectural and environmental direction that will be fundamental for his artistic development. Since then, Scheggi worked with Nizzoli Associates (Mendini, Oliveri, Fronzoni), Bruno Munari (Sala Experimental Film, Milan Triennale in 1964) and created the Intercamera plastica (1966) which was presented in Milan at the Galleria del Naviglio in January 1967. From 1968, he opened his investigation towards theatre and performing arts, addressing the overcoming of the traditional space of the stage and the gallery and extending it into the city (Marcia Funebre o della geometria for Campo Urbano in Como (1969), Oplà Stick held in Milan’s -Galleria del Naviglio, Firenze-Galleria Flori and city streets, Zagreb Student Center Gallery, for Nove Tendencije (1969)). During the last two years, he worked on a conceptual research that has culminated in the Sette spazi recursivi autopunitivi (never realized), the seiprofetiperseigeometrie and the Ondosa environment, yet to be investigated in their complexity. He also took part in the Venice Biennale in 1966, and in 1972, 1976, 1986, Scheggi exhibited in some of the major artistic events of the time in Paris, Buenos Aires, New York, Hamburg, Dusseldorf and Zagreb.