Susi e l’albero
1969, bronze, steel, glass, acrylic resin, water, 188x150x90 cm, Cavaliere’s archives, Milan
De Grada, Alik Cavaliere: un attacco a fondo contro le accademie, in “Giorni”, Milan, 10 December 1975, ill., p.8
“Immagini technika”, n.20, Milan, Decembre1977, ill. p.9
Cavaliere, with the assistance of I. Calvino et al. in “Maestri contemporanei”, n.25, Vanessa edizioni d’arte, Milano1978, ill. pp.2,18
Bortolon, I labirinti del quotidiano nelle sculture di Alik Cavaliere, in “Grazia”, Milan, 17 February 1980, ill.
“Quaderni Studio Marconi”, n.13/14, Milan 1980, ill.
Alik Cavaliere, in “Prospettive d’arte”, n. 49, Milan, October 1981, ill.
Alik Cavaliere, Breve testo per presentare accompagnare e proteggere alcune mie “vecchie” sculture, in Milan, 10 scultori contemporanei, Cultural Centre of the Municipality of Athens, Athens-Milan, ill. p.39
“Panorama”, Milan, 17 March 1983, ill.
Numero Sei, Cenobio Visualità, Milan 1984, ill.
A Milano, lo studio di Alik Cavaliere, in “Abitare”, Milan, November 1985, ill., p.72
Passa 1987, ill. p.46
Masoero, Gli anni d’oro di Brera, in “Il Sole 24 Ore”, Milan, 11 December 1987, ill.
Alik Cavaliere. Lo studio, with writings of Alik Cavaliere and Roberto Sanesi, Puntoelinea, Milan 1990, ill. p.42
“Artigianato”, n. 8, Milan, December 1992, ill. cover
I luoghi circostanti, by G. Ballo, catalogue of the exhibitions (Palazzo Reale, Milan, 21 May – 21 July 1992, ill. p. 137
Due secoli di scultura, by the Istitute of History and Theory of Art in Brera Fine Arts Gallery, Fabbri Editors, Milan 1995, ill. p.199
Alik Cavaliere, racconto-mito-magia, by G. Cortenova, U. Eco, D. Fo, A. Schwarz, M. Spinella, E. Tadini, V. Ferrari, catalogue of the exhibition (Modern Art Gallery in Forti Palace, Verona, 16 October 2005 – 29 January 2006), Forti Palace – Marsilio, Venice 2005, n. 51, p. 117.
Alik Cavaliere, la scultura protagonista a Palazzo Forti, in “In Città”, Verona, 5 October 2005, ill.
“Artigianato”, Milan, 18 October 2005, ill.
Cafarelli, Alik Cavaliere, “questo è un periodo meraviglioso”, in Terzoocchio, Bologna, December 2005, ill.
Masoero, Ritorno nel giardino di Alik, in “Il Sole 24 Ore”, Milan, 16 October 2005, ill.
Pontiggia, Giungla di bronzo, in “Luoghi dell’Infinito”, November 2005, ill.
Gatti, Alik a Verona, in “Artigianato”, Milan, March 2006, ill.
“Graphie”, n.1, Cesena, March 2006
Alik Cavaliere. Lo studio, with writings of Alik Cavaliere and Roberto Sanesi, Puntoelinea, Milan 1990, ill. p.67
I have always used the materials, – writes Cavaliere, – like a director, like a decorator, like a story-writer; working upon the memory, trying to create routes, labyrinths where I could meet with any visitor and then lose ourselves in the artwork itself. Psychologically, as well as physically, in the plurality of facets and ways.
For forty years I have used fabrics, wood, paper, words, water (several times), light, photography, metals (in the field of metals: iron, bronze, steel, copper, silver, brass, aluminium, lead, cast iron, imitation gold and the gold, but rarely as far as I pursued other ideas by mixing the materials in my crucibles), porcelain, ceramics, terra-cota, fire-stone, engobe, glass, mirror, plastic (in the field of plastic: polyester, polyurethane, polymethylmethacrylate, polyvinyl chloride) marble (granite, sandstone, metamorphic rock, grapholite), glossy and matt materials, found objects, recovered by plumbing, fusing, pouncing, assembling; I have always been fascinated with the colour and I surrendered to the temptation to paint, using enamels, oils, tempera, watercolors, acrylics, pastels, chalk, collages; when I had the chance, I always practiced engraving between litho-silk screening printing, drypoint print, calligraphic etching, aquatint … and, again – sound, noise, silence and emptiness …; electricity with engines and gadgets, designing, but not depriving me of the pleasure of bringing back art and craft traditions (or habits) during the work. I used my hands and those of my friends (I worked with Scanavino, Ferrari, Tadini, Piccoli, Sangregorio, and other artists) to perform works together.
I think I have always sculptured for expressive, communicative, aesthetic, language needs (sometimes breaking techniques), saving me, I hope, from becoming a professional manufacturer of artistic goods.
Operating in such a dispersive manner, I hope to have avoided becoming a generic specialist, and I don’t find myself in a studio transformed into a vast storage of well packaged artistic objects, stored in shelves and ready to be sold for a future planned price.