Seoul 27 Luglio – 15 Novembre 2018
Lunapark | The Design Island
Design Island, una grande mostra di 1200 mq con oltre 500 oggetti iconici di design
figurativi/narrativi, prodotti da note aziende e creativi internazionali, curata da Cristina
Morozzi e Chiara Savino con la supervisione e l’art direction di Stefano Giovannoni,
prodotta da Interpark (Korea) in partnership con 24 Ore Cultura Italia, destinata a girare il
mondo con prima tappa a Shanghai.
L’esposizione è un grande parco dei divertimenti punteggiato da isole sulle quali sono
disposti i prodotti di design caratterizzati da un carattere giocoso e narrativo, per bambini e
per adulti, che hanno ancora voglia di farsi sorprendere. Il parco ospita un’area gioco con
oggetti morbidi; una serie d’isole, costituite da pedane rialzate di forma irregolare, che
accolgono icone del design contemporaneo, alcune oversize quali il “Puppy” di Magis , il
“Merdolino” di Alessi e il “Rabbit” di Stefano Giovannoni per Qeeboo, perché, come in tutti
parchi gioco, ci sono nani e giganti. Tra gli oggetti iconici sono esposti pezzi storici del
design italiano, quali i famosi divani “Pratone”e “Bocca” e l’appendiabiti “Cactus” di Gufram
e prodotti contemporanei come il divano “Pack” di Edra, un grande orso addormentato sul
ghiaccio e le sculture intessute di perline dei californiani Haas Brothers. Al centro della
scena un enorme Kong fuxia lancia bagliori con la sua torcia luminosa. L’area gioco,
dedicata all’interazione, accoglie oggetti morbidi in poliuretano espanso, dove sdraiarsi,
sedersi, nascondersi, arrampicarsi dell’azienda italiana Play+ e il bosco tessile di Donna
Wilson, con esili alberi morbidi e dinoccolati. Per i più grandi ci sono le sedute ginniche,
“Lasy Basket” e “Snakers” disegnate da Giovanni Levanti per Campeggi. Sullo spazio
centrale si affacciano una serie di stanze, dedicata a aziende internazionali di design,
caratterizzate da una produzione ludica e 5 vetrine che accolgono le gigantesche sculture,
dalla sagoma allungata dell’artista pop californiano Antony Ausgnag. Sospese ondeggiano
nuvole e uccelli a ali spiegate, in leggera reta metallica, creati da Benedetta Mori Ubaldini.
Gli oggetti più piccoli, realizzati da noti design internazionali, sono disposti all’ingresso
della mostra in una serie di vetrine delle meraviglie. Il suono della giostrina di Alessandro
Mendini, realizzata da Alessi con le miniature della propria produzione in movimento,
introduce i visitatori nello spazio centrale.
Le stanze, ciascuna caratterizzata da un colore diverso, ospitano dei micro-mondi,
costituiti da oggetti figurativi prodotti da “Joyful companies”, quali Magis, Vitra, Seletti,
Ibride, Qeeboo, Eo, Kartell, Moooi. Una dopo l’altra, in sequenza, raccontano che il buon
design sa essere gioioso, che è in grado di stimolare la fantasia di adulti e bambini, che è
funzionale, ergonomico e tecnologico, pur sapendo affabulare e divertire.
L’area dedicata ai creativi, accoglie grafici/illustratori, designer e scultori dediti a una
produzione di tipo artistico, caratterizzata da un approccio naif e fiabesco, come Xavier
Mariscal, personaggio icona in Spagna, in quanto autore della mascotte El Kobi delle
Olimpiadi di Barcellona del 1992; Ineke Hans, designer olandese che si presenta lei
stessa come un personaggio da fiaba, calzando sempre zoccoli in legno, con i capelli
biondo grano, stretti in due trecce infantili ai lati del viso, sempre ridente, con la sua
collezione “Ordinary furniture family”, in plastica riciclata dipinta di nero; Giovanni Motta
con i suoi “Momonster”, grandi sculture in fibra di carbonio e resina dipinte con colori
lucenti; Markus Benesch con le sue figurazioni psichedeliche.
New York | R&Company Gallery
SUPERDESIGN | 1965 – 1995
R & Company presents SuperDesign, a survey of Italian Radical Design from 1965-1975, curated by freelance journalist and independent design curator Maria Cristina Didero. The exhibition has been over a decade in the making and has come together through extensive research, passionate collecting and frequent trips to Italy to interview protagonists of the movement. The comprehensive survey highlights these leading gures and showcases a capsule collection of visionary works, alongside a selection of rare archival drawings and photography. The exhibition will be accompanied by an extensive book published by The Monacelli Press, written by Didero, with an introduction by R & Company principal Evan Snyderman and contributions from Deyan Sudjic and Catharine Rossi, as well as a feature length (62 minute) documentary directed by Francesca Molteni which presents interviews with pioneering designers and rare never- before-seen archival footage.
SuperDesign is on view November 7 – January 4 2017. An opening reception will be held November 7 from 6:00pm until 8:00pm.
Italian Radical Design started in the 1960’s as a response to the tumultuous political climate in Italy when social tensions between the extreme right and left wing parties were at a peak. The movement sparked when progressive groups congregated together to express their political ideologies. The radicals hit the streets with demonstrations, generated manifestos and designed works with symbolic imagery that referenced both current politics and pop culture. Didero writes in her introduction essay, “Creativity—in all its manifestations—was deeply influenced by this demand for regeneration. Those active in fields such as art and architecture sought to overcome the boundaries of their disciplines and often joined forces to question the status quo with the aim of subverting the social, political, and visual culture of their time.”
Spanning both the upper and lower levels of R & Company gallery, SuperDesign brings together a selection of the most expressive pieces of furniture, objects and drawings to reveal the compelling story behind this ambitious movement. On view are iconic works by pioneering radical group Superstudio; Studio 65’s striking Bocca, a lip shaped sofa made in red stretched upholstery over foam; and Guido Drocco and Franco Mello’s Cactus, a coat rack shaped like a cactus made in foam. At first glance these designs appear playful, with their bright colors and bold use of pop imagery, but these evocative works were extremely progressive for their time, usually hiding different meanings.
Also featured is a selection of work by Lapo Binazzi, who recently had his first comprehensive solo exhibition at R & Company and is one of the few radicals still making work today out of his longstanding studio in Florence. SuperDesign presents one of Binazzi’s most critical works, Doric Temple, a group of columns made out of polyurethane foam, a material frequently used by the radicals and notoriously difficult to preserve. This piece was originally created for a performance at the Salone de Mobile in 1971 which invited visitors to knock down the individual columns and use them as seating. Another influential work on view is Safari Sofa a seating unit designed by Archizoom Associati, made out of plastic and leopard-patterned fur, this seductive piece is celebrated for its dramatic proportions and irregular clover shape.
Alongside these iconic masterworks, the exhibition also presents rare ephemera rediscovered over the years and now on view at the gallery for the first time. Included are photographs of cinematic interior spaces designed by the radicals in the 60s-70s, such as nightclubs, private homes and restaurants. Both the publication and film further investigate the untold stories behind these rare works. Evan Snyderman states, “It has been a great pleasure to create the SuperDesign project, in order to explore the archives of and chronicle the anecdotes from the mouths of the “perpetrators” themselves and, in doing so, reexamine their purpose and influence while establishing the history and heroes of these often-overlooked groups.”
Italian Radical Design remains an important moment in the history of design and is increasingly relevant in our current cultural and political landscape. The progressive works created by these visionary groups continue to act as major inspiration for the contemporary artists pioneering the industry today. “The radicals created a profound and enduring change in how the world thinks about the act and outcome of design—a field of limitless possibilities.” states Snyderman. SuperDesign, started over a decade ago as a passionate process of rediscovery, is now an opportunity to expose how these visionary leaders truly shifted our perception of design.
Torino, Docks Dora
POP ART IN THE DOCKS
Nell’ambito di Torino Design of the City, la settimana di incontri, esposizioni e workshop dedicati al design promossa dalla Città di Torino in occasione dell’assemblea generale di World Design Organization™, la fantasia gioiosa e dissacrante di Studio65 torna a far sognare il pubblico con la mostra Pop Art in the Docks, organizzata dall’Associazione Culturale Il Mercante di Nuvole dall’11 al 16 ottobre 2017, dalle ore 18.00 alle ore 22.00, presso la sede dell’Associazione in via Valprato 68 (ingresso gratuito).
Una nuova occasione per raccontare l’universo di Studio65, collettivo emblema del Pop Design italiano, fondato a metà degli anni ’60 nel capoluogo piemontese dall’allora studente di Architettura Franco Audrito insieme ad altri giovani colleghi.
La mostra, che diventerà l’esposizione permanente degli allestimenti e degli oggetti realizzati da Studio65 tra il 1965 e il 2015, molti dei quali prodotti dallo storico brand Gufram, presenta la più ricca collezione di opere di design divenute icone celebri in tutto il mondo e tuttora ospitate nei più prestigiosi musei d’arte contemporanea internazionali (MOMA di New York e Vitra Design Museum di Basilea, tra gli altri). Dal divano Bocca (nelle sue molteplici rivisitazioni) al divano componibile Leonardo; dalla seduta Capitello alle poltroncine Attica; dalla poltrona Money Money sino alla poltrona gigante Mickey dei Sogni: simboli di una rivoluzione culturale che hanno cambiato per sempre l’idea di abitare.
Pop Art showing at Docks Dora in Turin, Italy.
During Torino Design of the City, a week of events, exibihitions and workshops dedicated to design promoted by the City of Turin honoring the General Assembly of the World Design Organization™, Studio65’s joyous and sacrilegious fantasies are back to make the public dream again with its exhibit Pop Art in the Docks, organized by the Cultural Association ‘The Merchant of Clouds’ from 11 to 16 October 2017, from 18.00 to 22.00, in the Association’s main offices at Via Valprato 68 (free admission).
It’s yet another occassion for Studio65, the Italian badge collective of Pop Design, founded in the mid-60’s in the Piedmont capital by then-architecture student Franco Audrito together with other young students, to share it’s creative universe.
The show, which will become a permanent exhibition of the various stagings and objects created by Studio65 between 1965 and 2015, many of those from the legendary brand Gufram, will present the most comprehensive collection of works which have become iconic allover the world and are still shown in some of the world’s most prestigious international contemporary art museums (MOMA in New York and Vitra Design Museum in Basel, among others). From the Bocca sofa (with its many variations) to the modular sofa Leonardo; from the Capitello armchair to the Attica seat; from the Money Money chair all the way to the gigantic Mickey dei Sogni armchair: symbols of a cultural revolution which forever changed what it means to dwell.
Milano | Dilmos
Il Mercante di Nuvole | La riedizione 2016
After the Show “The Merchant of Clouds” held at GAM in Turin in 2015, Dilmos announces the re-release of Studio65 original collection that will be on display from November 23, 2016.
Objects are less known to the public but with a deep conceptual meaning that talks about history of a generation who experienced the transformation
from industrial to post-industrial world which continue to live as contemporary symbols. (Quote from Maria Cristina Didero)
For Dilmos and Studio 65 is the consolidation of a thirty-year relationship that began in 1986.
See you there!
From 23 November, 2016 at Dilmos Milano, piazza San Marco 1, Milan
Franco Audrito and Studio65
Jeddah | KSA | October 2016
Italian Language Week
JEDDAH – The Italian Consulate hosted the Italian Language Week showcasing architecture and design in efforts to promote the language to foreign markets and bring together businessmen and architects on a common platform.
“We want to show that Italian is not only the language of arts and music but also the language of creativity and a part of the know-how which is the added value of Italian professionalism,”
Consul General of Italy in Jeddah, Elisabetta Martini, said at a press conference here. “It’s very important to go along Saudi Arabia beyond the oil-based economy and match with the Vision 2030,” she said.
She further noted that Italian architects make a bulk of the Italian community in Saudi Arabia. A gallery showcasing Italian architects’ work in the Kingdom was showcased at the Italian Language Week hosted at the Italian Cultural Center that runs until Tuesday.
Architects chose an Italian word that identifies their creative style along with interactive stations where visitors can test their skills in designing their project, combining it with an Italian word. Round tables with five leading architects were also offered to the public.
Working on major projects in the Kingdom for nearly 40 years, architect Franco Audrito says: «Saudis have great respect toward the profession of architects, allowing him and other firms to fulfill dream projects.» Knowing the tradition and values of Saudi Arabia, he said, was crucial order to interpret them to buildings rather than imposing a foreign style. “The Italian creative people are welcomed in this country because they come here to know the values of Saudi Arabia,” he said, adding that taking into consideration the elements of the country is more honest than importing foreign buildings that are not compatible, such as constructing glass buildings in a desert.
“What I found is in this country is that my clients don’t consider me as a foreigner. There are many similarities between the two cultures. We are similar in the attitude, the way of living, social life, and other aspects,” he said.
“Saudis like to work with Italian architects more than others because they feel confident in the relationship between the client and architect,” he added. On the experience in Saudi Arabia, chief architect at Urban Design Group Vincenzo Provenzano, told Saudi Gazette, “I had the possibility to access bigger projects at a much different scale and budgets so we can maximize our imagination.”
What started as a small office grew and expanded from interior design to architecture in residential and commercial projects in the Kingdom. “Modern architecture is increasing in Saudi Arabia,” he said. “Saudi clients are understanding that the cleaner the design the better and simpler lifestyle.” Italian architecture and design is more than 2,000 years old. The focus has always been toward
beauty where Italians are used to beautiful squares, churches, buildings.”
He added, “It’s the know-how and experience of Italian architecture that we bring here.” The presence of Italian products and services in the Kingdom has translated into embracing the Italian lifestyle that is regarded as having similar traits to the Saudi
culture, according to president of the Italian Business Group (IBG) Bashar Jabban.
“Italy and Saudi Arabia have a lot in common,” said Jabban. “However, there’s more to discover and the mission of the IBG is to put people together from Italy and Saudi entrepreneurs and businessmen dealing with Italian products and services to collaborate. This will allow us to obtain from the Italian government much more support possible.”
Weil am Rhein | Vitra Design Museum
The first Schaudepot temporary exhibition is dedicated to Radical Design, a design Movement that reached its peak at the end of the 1960s and the beginning of the 1970s in Italy and is one of the most important avant-garde movements in the history of design. With manifestos, unconventional design vocabulary, transdisciplinary working methods and utopian design ideas, exponents of Radical Design were protesting against functionalism and the established taste in design and architecture. Thus, they showed that designers and architects must not only be seen as service providers in a commercial context but that they can also actively and critically engage in social and political matters.
Superstudio, for example, with the table Quaderna and Gaetano Pesce with his lounge chair La Mamma provided a critique of consumer society as well as of the social status of women. In collaboration with the company Grufam, designers such as Piero Gilardi, Studio65 and Drocco/Mello used the new materials of polyurethane foam and latex rubber coating in their furniture design and thus achieved a break-through in design freedom, facilitating the influence of pop art in furniture design. The disappearance of boarders between design and other disciplines are also shown in the works of Alessandro Mendini, who was simultaneously active in various groupings as a publicist, artist, architect and designer.
The critical awareness brought about by Radical Design continues to influence numerous designers and artists today. Many of the current design trends such as Critical Design, Social Design und Participatory Design relate to the concept of Radical Design. Another part of the exhibition shows interviews with contemporary designers, design theorists and producers, who explain the influence and significance of Radical Design in their work or in the design world today.
Galerie Poirel Nancy, 11 / 2015 - 04 / 2016
ZONES DE CONFORT
The Comfort Zones exhibition invites you to explore a curious place, the home of a col- lector every bit as compulsive and eclectic as the Centre national des arts plastiques (Cnap) itself.
The exhibition suggests different ways to experience ‘comfort’, a concept that has beco- me so omnipresent in design practice and theory that it has almost grown impercep- tible. Where does this “state of convenience and well-being akin to pleasure to which all men naturally aspire”1 come from? What forms does it take?
Objects spread throughout the exhibition take their place on a grand stage where they simultaneously serve as the set, the actors and the props. The entire exhibition is a play in four acts with one intermission.
In the Office, functional objects project an image of ‘modern comfort’. These material possessions are designed to improve consumers’ daily life by relieving them of labo- rious tasks. The Reception area presents as a vast living room, adorned with furniture designed to give the weary a place to rest. The Play Area brings together objects that trade in pure functionalism for fun and triviality. Lastly, the Antechamber turns our un- derstanding of well-being on its head by raising certain contemporary quandaries.
Halfway through the exhibit, visitors have the chance to test out different pieces of fur- niture at a break area on the mezzanine level. Here, they can also experience L’Écouteur, a modern-day interpretation of music rooms created by Laurent Massaloux and Jean- Yves Leloup.
The majority of the objects displayed were designed to satisfy our minds and bodies. They reveal the nature of our domestic activities and concerns. While projecting a sense of familiarity, the exhibition invites visitors to reconsider the shapes and uses of the objects that make up the environment around us. Comfort Zones places mass-manufac- tured products, comfort produced in standardised forms, alongside works that upset the standard models. In doing so, the exhibition reflects two contemporary movements in design: the search for solutions and the formulation of critiques.
Comfort Zones is the product of a partnership between the city of Nancy, Galerie Poirel and the Cnap. It is the first in a series of three exhibitions that will offer different pers- pectives on the Cnap’s design collection.
MCA Chicago, 12 / 2015 - 04 / 2016
POP ART DESIGN
While we may think we know pop inside-out through the well-documented and widely discussed work of Andy Warhol and his peers, the spirit of pop not only manifested itself in Warhol’s paintings of Marilyn Monroe and Campbell’s soup cans, it also influenced the look of chairs, sofas, lamps, and even architecture during the culturally ebullient 1960s and 1970s. Pop Art Design, an exhibition organized by the Vitra Design Museum, one of the preeminent furniture and design museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative worlds. This glimpse outside the precincts of fine art museums and galleries reinforces the pervasiveness of pop as a cultural phenomenon during this period.
Designers such as Charles Eames, George Nelson, Ettore Sottsass, Achille Castiglioni, and Robert Venturi were just as enamored of the commercial buzz of Main Street as their fine art peers and equally embraced the banality of everyday objects, the vivid colors of advertising, and standardized fabrication at the heart of mass consumer products in the creation of their work. Their furniture, graphic design, and architecture exemplify the same pop spirit that swept the western world during this period, but have up until this point not received the attention they deserve. This exhibition, presented alongside a companion exhibition of classic pop works from the MCA Collection, offers a fresh perspective on this prevailing period of cultural production.
This exhibition is organized by the Vitra Design Museum in Weil am Rhein, Germany. It is overseen at the MCA by James W. Alsdorf Chief Curator Michael Darling.
Roma - Maxxi, 11 / 2014
100% ORIGINAL DESIGN
“Bocca è tra i prodotti di design più ricercati, riconosciuti ed imitati nel mondo dell’arredamento”.
Franco Audrito fondatore dello Studio65 e autore del progetto insieme a Sampaniotou, Paci, Pozzo, Schiappa e Tartaglia ci ricorda che venne disegnato come simbolo di sensualità e bellezza per l’allestimento di un centro benessere. Da allora Bocca di è divenuto un cult, un’icona pop senza tempo.
La sua unicità ed autenticità viene oggi celebrata in mostra al Museo Maxxi di Roma nell’ambito dell’esposizione 100% Original Design promossa da Elle Decor e visitabile fino al 4 Gennaio 2015.
Emma Museum Espoo, 02 / 2015
Pop Art Design | Emma
Il Radical Design di Gufram incontra la Pop Art
Approda in Finlandia all’EMMA, il museo di arte moderna di Espoo, dal 18 febbraio al 10 maggio 2015 la mostra POP ART DESIGN.
Un’esposizione esaustiva e preziosa sull’emozionante scambio d’idee tra artisti e progettisti dell’era pop. Più di 200 opere e capolavori del XX secolo sviscerano il rapporto dinamico tra arte e design, dalla musica alla grafica passando per l’arredamento. Oggetti ed immagini del quotidiano che a partire dagli anni ’60 hanno rivoluzionato la cultura visiva contemporanea. L’allestimento fresco ed originale mette a dialogo i capolavori dell’arte Pop firmati da Andy Warhol, Roy Lichtenstein, Claes Oldenburg e Robert Rauschenberg con le icone di radical design prodotte a partire dagli anni ’70 da Gufram. Tra gli arredi scultorei dell’azienda piemontese che più di tutti sono entrati a far parte dell’immaginario collettivo, in mostra si trova il divano BOCCA che fa da contraltare alle labbra di Marilyn Monroe, l’originale seduta PRATONE che rappresenta lo spirito hippie dell’epoca, la chaise longue Capitello come allegoria della classicità e l’appendiabiti Cactus come oggetto di culto del paesaggio domestico.
Vitra Design Museum Weil am Rhein, 10 / 2012
Pop Art Design | Vitra Design Museum
Pop Art è ampiamente considerato come il più importante movimento artistico dal 1945. Riflettendo sul culto della celebrità, il feticismo delle merci e la riproduzione dei media che ha permeato la vita di tutti i giorni nel periodo del dopoguerra, la Pop Art continua a plasmare l’autocomprensione culturale della nostra società di oggi.
Una caratteristica centrale della Pop Art è stato il dialogo tra design e arte, che è ora in fase di studio in “Pop Art Design” presso il Vitra Design Museum, la prima globale sul tema. Opere di artisti come Andy Warhol, Claes Oldenburg, Roy Lichtenstein o Judy Chicago sono abbinati a oggetti di design di Charles Eames, George Nelson, Achille Castiglioni ed Ettore Sottsass.
La mostra è completata da una moltitudine di altri reperti, come copertine di album, riviste, film e foto di interni contemporanei. Cinquant’anni dopo la dichiarazione ufficiale della Pop Art in una conferenza al MoMA di NewYork, la mostra “Pop Art Design” dipinge così una nuova immagine della Pop Art – che riconosca finalmente il ruolo centrale svolto dal disegno.
Con la sua giustapposizione di reperti dai campi dell’arte e del design, la mostra presenta non solo un panorama affascinante di un’epoca passata, ma offre anche nuove prospettive per entrambe le discipline.
Essa mostra come il design è stato un partner di dialogo paritario per Pop Art, in alcuni casi anche l’impulso dominante.
Allo stesso tempo, dimostra come molti oggetti di uso quotidiano e design radicale del 1960 fossero importanti sfaccettature del movimento Pop.
Invece di limitarsi a celebrare la zeitgeist di un’epoca, la mostra si propone di dare uno sguardo più dettagliato del fenomeno Pop:
dalla migrazione di motivi tra arte e design, al rapporto tra oggetto quotidiano e l’immagine e, non ultimo, al modo in cui la vita quotidiana passò sotto l’influenza ancora dominante della cultura pop.
Questa prospettiva mantiene una particolare rilevanza ancor oggi se si esamina la relazione tra la Pop Art e la nostra vita quotidiana e la cultura del consumatore che rimane onnipresente.
Nello sviluppo del concept espositivo , la mostra è in grado di attingere a mostre che sono state raramente viste in questa qualità e la densità.
Complessivamente unisce circa 140 opere, la metà delle quali opere d’arte e le altre oggetti di design, integrati con fotografie, numerosi documenti, film e testi. I punti salienti della mostra comprendono uno schermo disegnato da Warhol (1958), un “Target Painting” di Jasper Johns (1957), il divano “Leonardo” di Studio65, che è quasi mai stato esposto da quando è stato prodotto, “Yellow Brushstroke ” su larga scala di Roy Lichtenstein (1965), “I love you with my Ford” di James Rosenquist (1961), la lampada da terra monumentale “Moloch” di Gaetano Pesce ( 1970-71) e la “Chair” di Allen Jones (1969).