The Prize is promoted by the historical Fonderia Artistica Battaglia, located in the city centre of Milan. First opened in 1913, the foundry has always been home to some of the most important national and international artists: from Marino Marini to Kengiro Azuma, from Alighiero Boetti to Giuseppe Penone, all supported throughout their work by the expert and skilled hands of the foundry’s master artisans. The most recent generation of young artists nurtured by Battaglia includes artists like Francesco Arena, Giorgio Andreotta Calò and Peter Waechtler.


The BFSP is an annual award addresses to young international artists established with the aim of promoting the use of bronze and the ancient lost-wax casting process in contemporary art practices.
The BFSP wishes to be an international showcase for new emerging talents, through the monitoring, selection and formation of international artists in the production of innovative works.
Ten international leading figures of the contemporary art world select ten artists each presenting a proposal for a bronze cast. A jury then evaluates the projects paying specific attention to their procedural features, which are of extreme challenge within the casting process.



The BFSP is a proactive platform for cultural / technical research within the millenary tradition of bronze casting.
The Prize aims to promote the unique experience of an artistic collaboration with a traditional bronze foundry. At Fonderia Artistica Battaglia manual skills and understanding of the different material stages in lost-wax bronze casting are investigating day by day under the supervision of skilled artisans. The BFSP wishes to challenge the very nature of lost wax casting in all its different features: from a procedural point of view to its cultural implications and potential translation in the world of contemporary art.


The third edition of BFSP 2018/2019 will focus on the great potential of surface translation of lost-wax bronze casting.
Since ancient times all materials were converted into bronze to achieve accuracy of material textures into bronze sculpture interpretation. From organic textures to artificial ones, what dialogue can be installed between a form and its surface through the positive and negative translations intrinsic in the lost-wax process?


SERRA 1938 is a furniture joinery founded in Gravellona Toce in 1938. The carpentry began its career working with the Architect Vietti, and became over time an exclusive carpentry for many Designers.

Acquiring in 2017 the brand BELTRAMI 1815, ancient ebony cabinet-maker, that produces since the 19th century artefacts which are presented all around the world, exhibited under prestigious brands in Berlin, Paris, London, New York. The growing interest in the art-design sector and art productions, pushed the company to support particularly important projects for the international contemporary art world development.


ROCHELLE GOLDBERG born in a beam of light

The sculpture produced during the BFSP#03 residency, Intralocutors, was presented with a preview on January 2019, within Rochelle Goldberg's solo show at the Power Station in Dallas, Texas "born in a beam of light".

On the occasion of Rochelle Goldberg's exhibition, the Third edition of the Battaglia Foundry Sculpture Prize was presented in a conference at the prestigious Nasher Sculpture Center in Dallas.
Further information on the exhibition here.

Courtesy The Power Station, Dallas. Photo©Kevin Todora

An exhibition around the lost wax bronze production of the BFSP#03 winning project by Rochelle Goldberg: INTRALOCUTORS. 

Within the new premises of Fonderia Artistica Battaglia in Via Oslavia, 17, we are delighted to present the exhibition of Intralocutors, the winning project of the Battaglia Foundry Sculpture Prize #03 by Rochelle Goldberg (Canada, 1984).

Intralocutors will be unveiled on the 3rd of April, during MiArt Contemporary Art Fair. This will be the Italian preview of the sculpture , which was previously presented in January 2019 at The Power Station in Dallas for Rochelle Goldberg's solo exhibition “born in a beam of light” curated by Rob Teeters ( The process and history of lost wax casting, with a focus on Intralocutors, was also illustrated during the Talk "Daily Futures and Present Archives" held by Battaglia at the prestigious Nasher Sculpture Center (

The exhibition of Intralocutors will take place in the new venue of Fonderia Artistica Battaglia, directly inside the wax department.  A short film on the residency by the director Virginia Taroni will also be screened. 

As for the previous edition, the narrative behind the BFSP #03 is published in a catalogue edited and distributed by CURA.books, and includes texts by Rochelle Goldberg, Saim Demircan and Camilla Bonzanigo. 

The book is available for consultation during the opening and will be ready for pourchasing starting from April 3rd.  



With Intralocutors, the artist imagines to translate an iconic symbol, Mary of Egypt, into a subsequent stage, through the study of different contact surface layers.

The artist challenges the positive and negative steps of the millenary bronze casting technique, through a highly sculptural methodology and explanation, relevant to the Prize enquiry for what concerns both the engagement with materials and their intrinsic characteristics, and for their relation within the lost wax casting process.
Intralocutors works as an active intervention, both technical and conceptual, on a pre-existing ceramic model: a fully developed sculptural approach, deeply relevant for what concerns materiality and the lost-wax technical process, taken to a further level of understanding within the positive/negative steps.
Rochelle Goldberg’s work “stages sculptural topographies composed of living, ephemeral, and synthetic materials”. 


As the Artist states: “Intralocutors, is a project that re-assigns agency to written-over subjects in the face of falsely ascribed mythology. It is engaged through materializing a composite figure that activates an absent position. If many women over time were compressed into the role of one Mary, then Mary too can be many as we try again to meet her. Mary of Egypt, popularly pillars forth evoking self-preservation as brutality, the patron saint of flesh, specifically carnal flesh and its abandonment, leaves a legacy misunderstood as a mutual rejection between her corporeal-self and the world, rather than her own decisive action. Through her desert entry, she escapes the material world that she no longer needs to ‘know’. Her forlorn figure has become an emblem for the possibility to choose both love and peace and the further possibility to both choose and reject the world for which we live in. Over time her weathered flesh layers as her environment so that her environment, the desert, in turn, becomes her flesh––a hybrid surface that conveys the accumulation of contact a body endures through time. Her resurrection signals the return to say “hello,” “hello I am here,” “hello she will be here,” “hello they have always been here.” The Intralocutor wears herself, her world, and everything she touches, thousands of years of material refinement in the lost-wax-bronze casting process are pressed up against how our ideas of skin, surface, protection, survival, body, gender, and life have changed and will continue to change".

download full press release here




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