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Alessandro Mendini
Philippe Starck
,
What? A homage to Alessandro Mendini by Philippe Starck
, Milano [Milan] (Italy),
Triennale Milano
, Impluvium, 16 april / 1 september 2024
From April 16 to June 16, 2024, the Impluvium of Triennale Milano is the site of What? A homage to Alessandro Mendini by Philippe Starck, a site-specific installation imagined by Philippe Starck, commissioned and presented by Triennale Milano and the Fondation Cartier pour l'art contemporain. Starck is one of the most brilliant creators of our time, who shared creative and professional experiences with Alessandro Mendini.
What? is an immersive installation that takes visitors into Mendini’s subconscious and his creative universe through the visionary eyes of Philippe Starck. An impressionistic journey, guided by sounds and images in constant transformation.
“I owe a debt to Triennale and a debt to Alessandro Mendini.” – explains Philippe Starck – “As a young man in Milan, Triennale was a great revelation for me. I was absolutely fascinated by the building, which lit up my head. I liked Alessandro personally. Before being a human, he was an idea, a sensation, an osmotic vibration that I wanted to recapture through the installation, conceived as an immersive experience in Alessandro Mendini's brain.”
The French creator has invited Soundwalk Collective in his project, a collective of artists and musicians founded by Stephan Crasneanscki and internationally acclaimed for their concept albums, sound installations and live performances, often in collaboration with artists, musicians and writers, including, recently, Jean-Luc Godard, Nan Goldin and Patti Smith.
Triennale and Fondation Cartier have collaborated with Philippe Starck on several occasions, and some of his works are part of Triennale’s permanent collection and have been featured in many exhibitions. Starck has also collaborated with the Fondation Cartier since the beginning of the institution's life, participating to one of its first exhibitions, Vivre en couleur (1985).
Carlo Scarpa
Carlo Scarpa / Sekiya Masaaki . Lo spazio dei giardini tra progetto e fotografia
, Tōkyō (Japan), Istituto Italiano di Cultura, 21 june / 5 september 2024
La mostra dedicata a Carlo Scarpa (1906-1978) e Sekiya Masaaki (1942-2002), organizzata nel 2023 dalla Fondazione Benetton Studi Ricerche a Ca’ Scarpa a Treviso, si sposta in Giappone, a Tōkyō, nella sede dell’Istituto Italiano di Cultura, da venerdì 21 giugno a giovedì 5 settembre 2024.
Realizzata dall’Istituto Italiano di Cultura di Tōkyō, con il supporto scientifico della Fondazione Benetton, e curata da J.K. Mauro Pierconti, l’esposizione, intitolata Carlo Scarpa / Sekiya Masaaki. Lo spazio dei giardini tra progetto e fotografia, si presenta con un progetto rinnovato che ritaglia, all’interno della variegata opera architettonica di Carlo Scarpa, il tema dello spazio dei giardini, prendendo in considerazione due opere da lui realizzate e ritratte dal fotografo Sekiya Masaaki: il giardino della Fondazione Querini Stampalia a Venezia (1959-1963) e il complesso della Tomba Brion a S. Vito di Altivole (Treviso1969-1978).
La mostra prende in esame la progettazione degli spazi all’aperto attraverso i casi del giardino della Fondazione Querini Stampalia e della Tomba Brion, entrambi ritratti da Sekiya Masaaki. Una selezione di disegni in stampa ingrandita per il complesso di Brion indagherà ulteriormente il tema della natura; inoltre, verranno esposti per la prima volta scatti dello stesso Scarpa realizzati durante il viaggio del 1969 in alcuni famosi giardini di Kyōto, come quello della Villa Imperiale di Katsura, con le sue case da tè sparse intorno all’edificio e al lago artificiale e collegate da sentieri diversamente disposti; oppure il misterioso Ryōan-ji, giardino zen con quindici pietre collocate all’interno di un rettangolo di sabbia, oppure ancora il giardino dei muschi o Saihō-ji.
Carlo Scarpa stesso è stato capace, nel corso della sua carriera, di realizzare giardini formalmente molto diversi tra di loro, riuscendo allo stesso tempo ad armonizzare gli elementi naturali: l’acqua, la terra, la pietra, la luce, le piante. È nel disegno che risiede la chiave di lettura del giardino scarpiano, come del resto testimoniano gli innumerevoli studi, fatti di schizzi, prove e tentativi per determinare quella forma capace di trattenere e di esprimere lo spirito delle cose. Non è quindi un caso che nella mostra giapponese verranno esposti, in copia ingrandita, trenta disegni per la Tomba Brion: una selezione che indaga la presenza della natura e dei suoi elementi sotto diversi punti di vista; in particolare, il variare della luce nelle ore del giorno e la presenza della natura all’interno della stessa soluzione architettonica, quindi come parte costitutiva dell’opera realizzata.
La mostra giapponese si avvarrà, sia della Sala per le Esposizioni, dotata di grandi elementi parallelepipedi che fungeranno da superficie di appoggio per le fotografie e i testi, sia dell’ampio volume dello scalone che conduce all’auditorium sottostante. In questo secondo spazio, analogamente a quanto avvenuto nella mostra di Treviso, alcune grandi stampe (4x2 metri), mostreranno le fotografie di Sekiya per Brion, mentre un lungo ballatoio fungerà da galleria dei disegni.
_____________
Sekiya Masaaki è stato un fotografo professionista giapponese che ha operato in vari paesi seguendo le orme di numerosi architetti del Novecento, tra cui Carlo Scarpa, al quale avrebbe voluto dedicare una monografia comprensiva di tutte le opere realizzate. Purtroppo, morì prima di poterla portare a termine. Il suo archivio, tuttavia, conserva migliaia di fotografie, alcune delle quali sono state esposte nella mostra di Ca’ Scarpa dello scorso anno. Con questa nuova esposizione, dunque, il Giappone riscoprirà anche l’opera di un suo fotografo più conosciuto all’estero che nel suo stesso paese.
3XN
Aware. Architecture and Senses
, Copenhagen [København] (Denmark [Danmark]), Danish Architecture Center, 22 march /
15 september 2024
Across diverse typologies and scales, 3XN’s work is driven by the conviction that architecture should give something back--to people, to communities, and to our planet. Since 1986, 3XN has specialised in transformational projects: projects that give obsolete structures new form and character, that transform dormant neighborhoods into thriving cultural hubs, or that unite disparate organizations into collaborative communities. A commitment to the highest standards of sustainability and design excellence unites the studio’s portfolio. Form and performance are not at odds, but rather continuously enhance and shape one another.
GXN was founded in 2007 by 3XN with the aim of exploring architecture’s unique potential for effecting positive change. Through the remit to explore beyond traditional architectural practice, GXN has developed a unique cross-disciplinary methodology of feeding research into the built environment and letting the questions of practice direct the research. This freedom allows GXN to work independently and across scales and disciplines. In this relationship, we are challenged by the diverse needs of clients and teams in real-world cases. Today, 3XN and GXN are two independent, symbiotic, mutually-beneficial companies with aligned missions, sharing studios in Copenhagen and London.
With offices in Copenhagen (HQ), Stockholm, Sydney, New York, and London, the diverse perspective of 3XN GXN’s global practice gives greater depth to its holistic methodology which prioritizes behavior, curiosity, and circularity.
Louise Bourgeois
Louise Bourgeois: L’inconscio della memoria
, Roma [Rome] (Italy), Galleria Borghese, 21 june / 15 september 2024
Louise Bourgeois. L'inconscio della memoria è la prima mostra dedicata a un’artista contemporanea donna alla Galleria Borghese, e la prima esposizione romana dell’artista franco-americana tra le più influenti del secolo scorso.
Ideata da Cloé Perrone e curata con Geraldine Leardi e Philip Larratt-Smith, l’esposizione, realizzata in collaborazione con The Easton Foundation e l’Accademia di Francia a Roma – Villa Medici, è incentrata sul grande contributo della Bourgeois alla scultura e la profonda connessione tra la sua pratica artistica e la Galleria Borghese.
Louise Bourgeois. L'inconscio della memoria intreccia la memoria personale dell’artista, a quella collettiva del museo pubblico: il percorso espositivo attraversa alcune sale, i Giardini segreti e il padiglione dell’Uccelliera – luoghi che Louise Bourgeois aveva esplorato con ammirazione durante la sua prima visita a Roma nel 1967. Circa 20 opere scultoree che dialogano con l'architettura unica del Casino Borghese e con la sua collezione, sono incentrate sui temi della metamorfosi, della memoria e sull'espressione di stati emotivi e psicologici. Queste tematiche, esplorate anche dagli artisti della collezione Borghese, sono rinvigorite dalla lente contemporanea di Bourgeois, che offre nuove prospettive sull'esperienza umana, grazie anche alla sua straordinaria diversità di forme, materiali e scale, che le hanno permesso di esprimere una gamma di stati emotivi.
Il percorso artistico di Louise Bourgeois (1911, Parigi - 2010, New York), lungo sette decenni ha fatto progredire in modo significativo le discussioni critiche sull’arte contemporanea, incorporando i temi della psicoanalisi e del femminismo che da allora sono diventati centrali. Negli anni Sessanta, dopo un periodo di intensa psicoanalisi, inizia a lavorare con forme biomorfe, sperimentando il lattice, il gesso, la cera e altri materiali. All'inizio degli anni Novanta presenta il suo primo gruppo di Cells, strutture autonome, alcune simili a stanze, composte da elementi scolpiti, oggetti trovati e oggetti conservati nel corso della sua vita. Sono dell’ultimo decennio della sua carriera le opere realizzate con i tessuti.
Il suo rapporto con l'Italia e con le collezioni Borghese ha influenzato in modo significativo la sua pratica creativa. L’incontro con la collezione Borghese iniziò con gli studi di storia dell'arte al Louvre alla fine degli anni Trenta e si approfondì tra il 1967 e il 1972 con i soggiorni a Pietrasanta, Carrara e in altre città della regione, lavorando in diversi studi e realizzando numerose opere in bronzo e marmo. Un decennio dopo riprende a frequentare l'Italia, producendo altre sculture tra il 1981 e il 1991.
Il tema della metamorfosi, centrale nella sua opera, si sviluppa attraverso Janus Fleuri, Topiary e Passage Dangereux. La simmetrica e ambigua forma sospesa di Janus Fleuri è rivolta in due direzioni e fa riferimento alla divinità romana che guarda contemporaneamente al passato e al futuro e simboleggia gli inizi e le transizioni. Topiary riflette la crescita organica e le fasi di sviluppo di una jeune fille en fleur, incarnando le trasformazioni naturali e personali dalla giovinezza alla maturità. Allo stesso modo, Passage Dangereux, la Cell più grande di Bourgeois, esposta nel Salone del Lanfranco, racchiude il viaggio di una bambina che dall'innocenza infantile diventa ragazza.
Le Cell di Bourgeois sono una serie di involucri delle dimensioni di una stanza contenenti oggetti trovati e forme scolpite che esplorano i temi della memoria, del desiderio, dell'architettura e dei cinque sensi. Creando la propria architettura, Bourgeois ha sviluppato una forma autonoma che le ha permesso di mettere in scena complesse orchestrazioni di motivi e simboli che fondono passato e presente, pronti per essere visti, condivisi, vissuti e conservati, esattamente come la Galleria Borghese era per Scipione Borghese.
Nella Cell (The Last Climb), la penultima Cell di Louise Bourgeois, che apre il percorso espositivo al centro del Salone d’ingresso, il motivo della spirale è primario. Questo motivo ricorre in tutta la sua opera e che si ritrova in Spiral Woman, esposta nell’Uccelliera. La scala a chiocciola di Cell (The Last Climb) è una metafora dei cicli infiniti della vita e del suo viaggio e le sfere blu che fluttuano nello spazio hanno una forte connotazione spirituale.
La Cell XX (Portrait) si addentra nella ritrattistica delle emozioni, presentando uno sguardo intimo sulla psiche umana. Con il suo scambio silenzioso tra due teste, la Cell mette in evidenza la decostruzione di Bourgeois della ritrattistica tradizionale col fine di enfatizzare l'espressione emotiva e la profondità psicologica rispetto allo status e all'identità sociale, e di esplorare il complesso arazzo della relazione di ciascuno con l'altro.
Sono parte del percorso altre opere che affrontano i temi chiave dell’artista. Nel giardino, The Welcoming Hands presenta calchi delle mani dell'artista intrecciate con quelle di Jerry Gorovoy, suo caro amico e assistente di lunga data, che rappresentano dipendenza, intimità e protezione Al grande Spider di bronzo, anch'esso ospitato nei Giardini Segreti e simbolo dell'essenza protettiva e resiliente della madre della Bourgeois, si contrappone la morbidezza del marmo rosa con cui l’artista realizza alcune opere come Jambes Enlacées, un delicato accavallare di gambe che si riflette in quello delle caviglie di Paolina Borghese nella Sala I, e ancora Untitled (n. 7) dove due coppie di mani si stringono solidali e una piccola casa simboleggia rifugio e protezione. Entrambe queste opere frammentano e trasformano il corpo, rivelando relazioni più profonde e sfumate attraverso l'atto della ridefinizione fisica.
Nella Sala degli Imperatori troviamo una serie di teste di stoffa di Bourgeois esposte accanto ai busti di Cesari e uomini illustri, in porfido e alabastro orientale. In queste sale le opere dell’artista hanno un effetto di straniamento ai busti. Con le loro orbite vacue o le bocche semiaperte, queste sculture sono realizzate con ritagli di arazzi dalle fantasie floreali o geometriche sostenuti da una struttura di alluminio e generano un ricercato effetto stridente con il vigore e il lusso materico dei Cesari.
“La mostra su Louise Bourgeois fin dal titolo insegue due aspetti molti significativi del percorso dell’artista: l’inconscio e la memoria. Nella Galleria Borghese la conservazione della memoria del collezionista suo fondatore, Scipione Borghese, è per noi centrale e tutte le opere da lui raccolte raccontano la sua storia che è poi diventata la storia di uno dei musei più importanti al mondo. Le singole opere conservano la memoria dei loro autori e delle loro vite, a volte anche i loro ritratti nascosti come nel caso della Minerva di Lavinia Fontana, artista che all’inizio del Seicento usa la mitologia come suo specchio. Bourgeois sembra invece non nascondersi, ma esporsi il più possibile, cercando di raccontare anche il suo inconscio, i livelli di coscienza che sono poco dicibili. In questo rimando continuo fra memoria personale e collettiva, fra specchi e gabbie, risiede la forza estetica della mostra, che grazie alle opere della grande scultrice novecentesca attua la mise en abyme della collezione Borghese” afferma Francesca Cappelletti, Direttrice della Galleria Borghese.
Con la mostra Louise Bourgeois. L’inconscio della memoria la Galleria Borghese conferma l’importanza del rapporto tra arte antica e contemporanea, diventando luogo di incontro e dialogo tra Maestri di epoche e provenienze diverse. Le installazioni contemporanee di oggi riaffermano e attualizzano ciò che la Galleria incarnava per Scipione Borghese: uno scrigno di tesori personali e un luogo per custodire un’eredità che va costantemente rinnovata, favorendo nuove letture della sua storia e della storia dell’arte.
Louise Bourgeois
No Exit
, Roma [Rome] (Italy), Villa Medici, 21 june / 15 september 2024
Ettore jr. Sottsass
Ettore Sottsass. Design Metaphors
, Milano [Milan] (Italy),
Triennale Milano
, 29 september 2023 / 15 september 2024
Triennale Milano is presenting the exhibition
Ettore Sottsass. Design Metaphors
. After
Struttura e colore
,
Il calcolo
and
La Parola
, the fourth project in the exhibition cycle dedicated to the great architect and designer focuses on the relationship between Ettore Sottsass and photography.
As with the previous three exhibitions, Metafore is being staged inside the Sala Sottsass, which has been home since January 2021 to the permanent installation Casa Lana, a faithful reconstruction for Triennale of the interior of a private residence, designed by Sottsass in Milan in around the mid 1960s, and open to the public thanks to a donation from Barbara Radice Sottsass.
Ettore Sottsass. Design Metaphors brings together a series of photographs taken by Ettore Sottsass between 1972 and 1978 and grouped under the title “Metafore” (Metaphors); the f
irst three groups of photographs – Disegni per i destini dell’uomo (Designs for the destinies of man), Disegni per i diritti dell’uomo (Designs for the rights of man) and Disegni per le necessità degli animali (Designs for the necesssities of animals) – were exhibited in 1976 in Man Transforms, the collective exhibition for the opening of the Cooper Hewitt museum in New York, curated by Hans Hollein with Liza Taylor. The series of photos titled Fidanzati (Fiancées) and Decorazioni (Decorations) were taken after 1976 and after the exhibition at Cooper Hewitt, during Sottsass's travels through America, Greece, the Middle East and Italy. A series of works produced during the same period is also on display at the Triennale.
Marco Sammicheli
, Director of the Triennale Museum of Italian Design, affirms: “The use of photography alongside design reveals another of Ettore Sottsass's modes of expression, which, through the use of symbols, experiences and overlapping languages, succeed in taking the observers to places where they can understand, discover, imagine and ask themselves new questions.”
The years between 1972 and 1976 came towards the end of the Radical period of architecture; for Sottsass this was a period of great critical reflection, in which he had almost stopped designing, and instead, thought, drew, wrote and divided his time between the Milan studio and his wanderings around different parts of Spain, including Barcelona, Madrid, Almeria and Granada, but above all the rocky desert areas to the south-east of the Ebro river and the wild valleys of the Pyrenees. During his travels he constructed and photographed: initially, he only made small interventions on the landscape, creating temporary structures with materials such as twine, small pieces of wood, poles, ribbons, cardboard boxes, leaves, branches, stones, and strips of fabric. Then bit by bit the landscape made room for people to come in, with their questions.
The Costruzioni series, completed during the same years as his travels, are also included in the exhibition; these consist of studies in the language of architecture, reflections on the environment, notes on anthropology and analyses of the meaning of design which, while often starting from the study of a real object, can lead the observer onto broader meditations that often lie outside the mere act of designing itself, entering into worlds of symbolism and reflection.
Stefano Boeri
President Triennale Milano
Ettore Sottsass was a great romantic hero.
What set Ettore apart from the ranks of artists and intellectuals who created the conditions of contemporary thought and criticism is a mysterious balance between depth and lightness. His thought, writings, designs, and photographs often succeed in awakening that impenetrable feeling of ‘being in the world’—the ultimate meaning of our lives, today, on this planet—which we usually bury beneath a thick layer of emotions, memories, and sensations triggered by everyday life.
The truth is that the ideograms, the words ‘written at night’, the ‘photos through the window’, and also his wooden furniture, ceramics with an ancestral profile, and limpid glass, nearly always raise questions about the meaning of things and life that without any effort, complication or rational intervention unexpectedly presents itself. Thus, he gives us a moment’s rest from quick thinking, a break to perceive the depth of doubt and emptiness, and also the vital intention guiding our eye at that moment.
The depth that often springs from Sottsass’ works is like the parenthesis of a temporal abyss—something that perhaps only one other designer, namely Enzo Mari (not coincidentally Ettore’s accomplice in an implicit and intense exchange of feelings and respect), was able to open.
Such parentheses of distilled depth can only be discerned today by studying the works of the few great heroes of the last century European avant-gardes: Nietzsche in philosophy, Mahler in music, Proust in literature, Geddes in urban planning, Borges in fiction...
But Ettore Sottsass also possessed an extraordinary mental agility.
His work functioned through bizarre associations, unpredictable correspon- dences, and epiphanic metaphors, shifting between distant fields of human existence and experience.
He was able to link a pebble in the desert to a part of human history, an anony- mous piece of furniture to a landscape, a political icon to a personal memory, and the portrait of a friend to cold rationality.
Yet the pleasure he took in discovering paradoxes and metaphors, the skilfullness of even his boldest and most risky connections, was almost never limited to the surface of things and ideas. On the contrary, it was often his metaphors and abstruse coincidences that opened the door to his profound thinking.
To the extent that the explanation of his mysterious balance between the surface and abyss of our experience can perhaps be found in his writings, designed, and drawings—in other words in the physicality, gravity, and duration he gave to his deft associations between objects, symbols, words, and faces. As evidence of another reality, as partial views of a merely glimpsed horizon, Ettore Sottsass’ works—whatever the technique or material—are first and foremost ironic and at times actually joyous devices which, combined with a cultured aesthetic equilibrium, raise a profound and unavoidable question concerning our history and our life. I had occasion to visit and interview Ettore in the small apartment he shared with Barbara in downtown Milan, a few days before he died. He became emotional when talking about migrating birds and the currents that enter the Mediterranean. He told me about the time he flew over the volcanoes of the Aeolian Islands and of his being aware of finding himself in the presence of living beings, which had a memory and feelings. Perhaps he was getting ready to enter a new dimension, the very one he had sought to fathom all his life.
DESIGN METAPHORS
by Barbara Radice
The Metaphors photographs were taken between 1972 and 1978. The first three groups of photographs, Designs for the Destinies of Man, Designs for the Rights of Man and Designs for the Necessities of Animals, date from the years between 1972 and 1976. That is, they were created towards the end of the Architettura Radicale movement. The dates are significant because, after the most turbulent protests, the first signs of reconstruction were beginning to be perceived. The Movimento Radicale Italiano, which grew up parallel to Arte Povera and Arte Concettuale and around similar themes, had been a time of important critical re- flection. Sottsass spoke of it as “a period of emptiness, of introverted meditation, of purification and the removal of what were the laws, customs and vocabulary of rationalist culture”. The topics dis-cussed were vast, involving the rethinking and re-founding of the mechanisms of design, of the role and responsibility of the architect in relation to society and public and private clients.
In those years, Sottsass had almost stopped designing. He thought, drew, wrote, he “wanted to escape”. “I felt a great need to visit deserted places, mountains, to re-establish a physical relationship with the cosmos, the only real environment, precisely because it is neither measurable, nor predictable, nor controllable, nor knowable... it seemed to me that if one wanted to recover anything, it was necessary to begin to recover microscopic gestures, elementary actions, the sense of one’s position...”.
In 1970 Sottsass met a young artist from Barcelona, Eulalia Grau, who for six years was to be his companion in a semi-nomadic life, spent between work in the Milan studio and lengthy wanderings around Spain: Barcelona, Madrid, Almeria, Granada, but above all the stony deserts southeast of the Ebro and the wild valleys of the Pyrenees. Here the first photographs came into being, later called Metaphors. In those same years Sottsass had begun work on a series of drawings which he called “constructions”. They were studies in architectural language, reflections on the environment, notes on anthropology, analyses of what might be the profound, almost primordial meaning of constructing around and within life. Sottsass was looking for the link, the place where the craft takes shape and meaning within the fabric of existence. During his Spanish travels Sottsass begins to “make constructions”. He constructed and photographed. He intervened with a few signs on the landscape, erected temporary structures, put together and held up with fragile, helpless materials. He chose string, small pieces of wood, stakes, ribbons, cardboard boxes, leaves, branches, stones, strips of fabric. For the moment, man is invisible in the landscape. He leaves little trace of himself. Then his voice begins to be heard, his questions ring out against the mountains, in the motionless deserts.
An invitation in 1974 to participate in the opening exhibition of the Cooper Hewitt museum in New York, scheduled for 1976, was an opportunity to “get back to work”, to define what is happening, decide on titles, choose themes, pho- tographs. The exhibition, entitled Man Transforms, was curated by Hans Hollein with Liza Taylor, curator of the new museum. There were nine guests: Peter Bode, Richaard Buckminster Fuller, Murray Grigor, Arata Isozaki, Richard Meier, Karl Schamminger, Ettore Sottsass, and Oswald Ungers.
What relationship is there or can there be between people, thoughts, and the space where they stay? This question had tormented Sottsass for a long time.
In 1966 he wrote: “I have never understood why wars are planned or declared from marvellous white buildings, planted in the middle of green meadows...I have never understood why insane people are put in dirty, cold and decaying hospitals which would drive anyone sane mad. I’ve never understood why first-class couches have to be red like those in brothels. I’ve never understood why tearooms for old ladies have to be as pink as baby girl’s bow.
Work on Metaphors was to continue for some years beyond 1976 and after the exhibition at the Cooper Hewitt in New York, where the first three groups of photographs were exhibited. The photographs in the Fiancés and Decorations series were taken during trips to America, Greece, the Middle East and Italy. In these last two groups of photographs man reappears, more or less physically and culturally equipped, a little ridiculous and uncomfortable against the impassive screen of the world. The themes always concern architecture as a background and support for existence, commenting on it through thoughts and occasions of everyday life, with the light-ness and charm of a travel journal.
The photographs in the Decorations series are more distant, metaphysical, allusive. They mark the time of the end of the work, of the finished work. They are also the most poignant. They no longer question, they recognize impermanence, they pay homage to it. Decoration is not just a formal gesture. It can be an attitude, the sign of a predilection, a nostalgia, a ritual.
You can also decorate life with a drawing of its end.
Lina Bo Bardi
Lina Bo Bardi. Poesie des Betons / The Poetry of Concrete
, Berlin (Germany), Tchoban Foundation. Museum für Architekturzeichnung / Museum for Architectural Drawing, 1 june / 22 september 2024
Louise Bourgeois
Rare Language
, Napoli [Naples] (Italy), Studio Trisorio, 25 june / 28 september 2024
Alessandro Mendini
Fulvio Irace
(ed.),
Io sono un drago. La vera storia di Alessandro Mendini
, Milano [Milan] (Italy),
Triennale Milano
, Spazio del Cubo,13 april / 13 october 2024
Presented in collaboration with Elisa and Fulvia Mendini – Archivio Alessandro Mendini, the retrospective is curated by Fulvio Irace with exhibition design by Pierre Charpin, who has collaborated with Mendini on several occasions. The Cubo space of Triennale displays over 400 works with different formats, materials and subjects, from many private and public collections, in particular those from: Alessandro Mendini Archive, Fondation Cartier, Triennale Milano, Groninger Museum, Vitra Design Museum, Abet Laminati Museum, Alessi and Bisazza.
The title of the exhibition, Io sono un drago (I am a dragon), draws on one of the most emblematic self-portraits by Alessandro Mendini and is intended to emphasize the complexity of this figure in the worlds of international design, architecture, and art. The exhibition sets out to restore Mendini's gaze on the world, his empathy for everyday objects and the mystery of his artistic philosophy that can transform even the most humdrum into a surprise that reveals the magic of the everyday.
The exhibition design, by Pierre Charpin, interprets the concept of the “dragon” as an accumulation of thematic nuclei that characterize the “Mendini method”: an archipelago of islands representing various moments in history and, at the same time, the threads of underground continuity that make it possible to bring a substantial continuity to the apparent diversity of his ceaseless research, based on his own human experience. As visitors enter the large room, they find themselves immersed in a unique environment, accentuated by a large axis that creates an imaginary link between the Petite Cathédrale and the Tête Géante, with the Muzio staircase in the background: a miniature piece of architecture and a big head to exemplify Mendini's work on the staircase of perception.
The exhibition itinerary is structured in six thematic nuclei: Identikit, featuring the series of self-portraits that Mendini created over the course of his whole life, using different techniques and formats; La sindrome di Gulliver (The Gulliver syndrome), with a succession of objects that are out of scale, from extra-large ones – such as the Poltrona di Proust and the Petite Cathédrale, both part of the Fondation Cartier collection – to some of the reduced-size projects created for Alessi; Architetture (Architectures), which presents the architectural works of the Mendini workshop, including the Groninger Museum, the Mediazentrum Madsack in Hanover, the three stations of the Naples Metro, and his most recent works in South Korea, from the Olympic Stadium to the Posco district in Seoul; Fragilismi, a nucleus dedicated to the research that led to the “Fragilisme” exhibition, designed by Mendini on the invitation of the Fondation Cartier: a hymn to the fragility of the earth in a world marked by war and violence; Radical Melancholy, a section dedicated to the years of radical design, of which Mendini was one of the principal theorists; and Stanze (Rooms), with three of the rooms that Mendini designed: immersive environments where references, memories, dreams and nightmares accumulate.
In the cinema hall, there is a screening of a documentary by Francesca Molteni, covering the life and works of Alessandro Mendini. In addition, the wall of the Triennale staircase landing features an oversized Mendinigrafo, while the Cuore space hosts historic publications by and about Alessandro Mendini, from the Alessandro Mendini Archive, the Éditions Fondation Cartier pour l'art contemporain and the Triennale Milano Library. Finallly, visitors to the garden can see the flag created by Mendini for the Draw me a Flag project, an 81-flag installation conceived by Christian Boltanski and realized in 2018, belonging to the collection of the Fondation Cartier pour l’art contemporain.
EXHIBITION THEMATIC NUCLEI
Identikit
For Mendini, self-representation is “existential exploration, vivisection of the body” through drawing: a therapeutic gymnastics, a life practice that dates back to his formative years at the Politecnico di Milano, when his vocation as an architect was beginning to be undermined by the lure of art.
In 1960, he imagined himself constrained within the contraction of a mirror, his features deformed and elongated, almost ghostly. A few years later, in 1972, his image sanctified by a self-supporting halo, a sort of relic of himself, is annotated by the acid sequence of his name: “M.A.”, “A.M2”, “A men”. The disturbing Autoritratto con Prigioniero di Mauthausen (1974) is accompanied by the vision of a Mendini crocifisso (1974), an externalization of the artist’s unhappy conscience in a world of indifference and desolation. The self-portraits of the 1980s are characterized by a newfound playfulness accompanied by an acute self- perception. Io sono un drago (2006) is an imaginative representation of his manifold creative activity as a summation of anatomical parts corresponding to specific qualities that takes the form of a mythological figure tradition- ally connoted as wild and evil.
Gulliver’s Syndrome
The result of “unbalancing gymnastics”, scale work is a tool to stress the design, because as Alice said, “Being so many different sizes in a day is very confusing!” The “giant game” (and its opposite) highlights “the loss of the unit of measurement”, but makes the body play the role of measuring the proportions. Is the Petite Cathédrale, which marks the start of a series of giants in miniature, a small piece of architecture or a large design object? Conversely, the Tête Géante serves as an ironic counterpoint to it, along with the interplay of Cavalieri di Dürer, present in all kinds of heights. The world of Lilliput is confronted with that of Brobdingnag, disorienting the observer: the extra-large Poltrona di Proust (which serves as the entrance to the exhibition) is different from the intimist dimension of the original, and this in turn is different from the ironic bibelot reduction in different materials.
Architecture
Designing is painting. This is the underlying principle of the Atelier Mendini run with his brother Francesco: “We create wandering architecture, conceptual relics of painted installations. The materials we work on are the colouring and mannerism of visual alphabets rendered abstract and autonomous.”
This did not prevent the creation of highly innovative works, such as the Groninger Museum and the three Naples Metro stations, indicative of a working method (the Designing Community) based on a multiplicity of approaches and the organic coexistence of artists. While the Dutch museum was in fact one of the first experiments in urban regeneration, the Neapolitan stations are attemptsatacupunctureinwhichthearts arecalledtotakejointresponsibility with architecture. The Galleria Mendini in Lörrach and the Mediazentrum Madsack in Hanover are experiments in redefining the urban block that hark back to Bruno Taut’s modern- ism. The entry into the new millennium espouses the well-known format of the decorated shed, as in the design for the Posco residential district in Seoul with housing units transformed into gigantic electronic circuitboards,perhapssymbolizingthecountry’smost important technological industry.
Fragilisms
In 2002, for his solo exhibition at the Fondation Cartier, Mendini designed the Fragilisme poster. It features a table that, like a mountain cave, represents the cosmogony of human frailty. More than a poster, it is a spiritual atlas: it does not imply a ought-to-be, but reflects who we are, with a celebration of the fragility of the earth in an aggressive world marred by wars and violence.
Recurring words—fragile, enigma, mirage, labyrinth— intertwine with the discontinuous markings of thread- like bodies resembling electrical circuits, evanescent faces, stars and waves, flames.
Older words converge there, fragments of time-worn experiences such as “soft design”, “unhappy design”, “subtle survival”, “pictorial design” and “new relig- iosity”, to compose a vision of the world as a fragile system, consistent with the eternal fragility of the human being.
Rooms
The experience of the first “home” concentrated in a room is the theme that runs through Alessandro Mend- ini’s life: the common thread that traverses the Stanza del secolo, the Stanza banale, the Stanza filosofica, the Stanza da manuale, the Chambre à souvenir, all the way through to Le mie prigioni, the extreme confession of his particular poetics of memory.
With different intonations according to different cul- tural temperaments, he has designed rooms without a view, in which quotations, memories, dreams and nightmares accumulate. Each room seeks to represent the sediments of the domestic universe: almost a photographic set using fittings that simulate a disturb- ing still life. Behind the guise of paradox, of inventive unbridledness, of the freedom of signs and colours, one senses the melancholy of reverie, congenial to the short duration of the event, of which only photography and drawing will retain traces.
The Piccola stanza con scarabeo (1996) is emblematic of the mystery of the closed room: the key dropped on the floor is the lost way out of a concentrationist universe, where decoration uninterruptedly invades furniture, floor, ceiling and walls.
Radical Melancholy
In the seventies, his years as editor of Casabella coincided with an awareness of the role of architecture at a time when political debate and social conflicts were intensifying. These were years of intense and painful reflection for Mendini, of incubation of themes that would explode into proposed images with a high expressive gradient, into acts of design terrorism expressed through counter- design objects. In 1974, the Valigia per l’ultimo viaggio and the Lassù chair marked the climax of the “unhappy conscience”, the culmination of a melancholic radicalism that found expression in the Oggetti ad uso spirituale cycle: stations for meditations on eternal thoughts, functional “owls”, “objects of normal use restored to mythological status”.
With Alchimia, the idea of re-design stems from the observation that all forms in the world already exist; to create new images, it is enough to revamp existing objects. The icon of this method remains the Poltrona di Proust, a ready-made where kitsch is divinely delivered. Linked to a performance presented in Milan on 18 September 1981, the Mobile Infinito is a celebration of the logic of teamwork, but also the manifesto of a method of designing a “catalogue” of solutions open to infinity.
Gio Ponti
Gio Ponti. Ceramiche 1922-1967. Oltre duecento opere dell’inventore del Made in Italy
, Faenza (Italy), MIC Museo Internazionale della Ceramica, 17 march / 13 october 2024
Al grande architetto, artista e designer Gio Ponti (1891-1979), promotore e divulgatore del “fare” italiano, è dedicata la prossima mostra del MIC Faenza che apre al pubblico il 17 marzo per rimanere allestita fino al 13 ottobre 2024.
La mostra dal titolo “Gio Ponti. Ceramiche 1922-1967”, a cura di Stefania Cretella, espone in quattordici sezioni oltre duecento opere - tra ceramiche, vetri, arredi e disegni - attraverso le quali viene analizzato, dal 1922 al 1978, il lavoro di Gio Ponti in relazione alla sua visione dell’abitare e di un nuovo vivere moderno.
“Impari le cose fatte con le mani. Nulla che non sia prima nelle mani”, questa sua emblematica citazione racchiude il suo pensiero, che fin dagli esordi recupera la tradizione classica (etrusca e romana) e il fare dell’alto artigianato artistico, adattandoli al gusto moderno. Ponti è stato una figura chiave nella definizione dello stile italiano non solo attraverso la propria attività progettuale, anche grazie alla fitta rete di relazioni con artisti, industriali e artigiani, ma soprattutto grazie alla direzione di due riviste divenute storiche del settore come “Domus” e “Stile” e alla costante partecipazione a mostre ed esposizioni.
Ponti è infatti protagonista delle Biennali di Monza, delle Triennali di Milano e di eventi internazionali come la mostra itinerante “Italy at Work. Her Renaissance in Design Today” tenutasi negli Stati Uniti tra il 1950 e il 1953, volta proprio a promuovere oltreoceano il “Made in Italy” presentando i massimi rappresentati del design e dell’alto artigianato artistico italiano.
Il suo rapporto con la ceramica inizia appena laureato. Tra il 1921 e il 1922 Ponti giunge alla Richard-Ginori e comincia il rinnovamento del repertorio storico della manifattura proiettandola verso il nascente gusto déco. La mostra mette a fuoco il fondamentale contributo apportato dal nuovo direttore artistico nel corso di circa un decennio, proponendo anche confronti con designer e artisti attivi negli stessi anni presso altre manifatture italiane, evidenziando le ricadute che il modello pontiano ha avuto sul contesto contemporaneo.
Dai primi anni Trenta Ponti si avvale della collaborazione del giovane apprendista Giovanni Gariboldi che diventa suo assistente di fiducia e poi suo successore in casa Richard-Ginori. Terminati i rapporti con la manifattura nel 1933, Ponti torna saltuariamente a collaborare con l’azienda proponendo idee di grande estro creativo e inizia a stringere nel tempo rapporti con il mondo delle arti decorative e del design. In oltre cinquant’anni di attività collabora con Pietro Melandri e il contesto faentino (famose le cartepeste realizzate con i Dalmonte), con le Ceramiche Pozzi, Gabbianelli, Venini, Fontana Arte e Sabattini, per citare le principali aziende con cui promuove percorsi e progetti unici e straordinariamente attuali.
La cifra stilistica di Ponti è un segno senza tempo, contemporaneo, che ha stimolato dialoghi con artisti e designer della sua epoca, ma ha anche ispirato ceramisti del XXI secolo. La mostra si conclude infatti con una sezione dedicata all’eredità di Ponti e alle influenze che questa ebbe su autori quali Alessandro Mendini ed Ettore Sottsass, per giungere ai contemporanei POL Polloniato, Diego Cibelli, Bertozzi&Casoni, Andrea Salvatori.
Louise Bourgeois
Louise Bourgeois in Florence
, Firenze [Florence] (Italy), 22 june / 20 october 2024
Do Not Abandon me
, Firenze [Florence] (Italy), Museo Novecento, 22 june / 20 october 2024
Cell XVIII (Portrait)
, Firenze [Florence] (Italy), Museo degli Innocenti, 22 june / 20 october 2024
Coinciding with the 10th anniversary of its opening, Museo Novecento celebrates Louise Bourgeois as one of the absolute protagonists of 20th and 21st century art with the exhibition Do Not Abandon Me, curated by Philip Larratt-Smith and Sergio Risaliti in collaboration with The Easton Foundation. Conceived in close dialogue with the architecture of the former Leopoldine building, a complex with a strong social vocation run for centuries by all-female communities, the exhibition will give the opportunity to experience almost one hundred works by the artist. These will include many works on paper created in the 2000s and sculptures of various sizes in fabric, bronze, marble and other materials. There is also great anticipation for Spider Couple (2003), one of Bourgeois's most famous and emblematic creations, which will be installed in the museum courtyard.
For this special occasion, the collaboration with Istituto degli Innocenti will be revived. Founded in 1419 as a hospital with the specific purpose of welcoming children deprived of family care in an environment marked by high artistic and architectural value, the Institute has never interrupted its original mission, and is known for pioneering innovations for the care of the youngest children. In the complex designed by Filippo Brunelleschi, the Museum will host Cell XVIII (Portrait), a work of strong visual impact which powerfully resonates with the history and collection of the Innocenti, chosen by Philip Larratt-Smith in dialogue with Arabella Natalini, director of the Museo degli Innocenti, and Stefania Rispoli, curator of the Museo Novecento.
The exhibition Do Not Abandon Me, strongly desired by the director of Museo Novecento and whose gestation dates back six years, will occupy almost the entirety of the former Leopoldine building, between the galleries on the ground and first floors.
The exhibition will present a survey of Bourgeois’s late red gouaches with a thematic focus on the motif of the mother and child. The exhibition’s title refers to Bourgeois’s powerful and lifelong fear of abandonment, which here relates to the mother-child dyad that sets the pattern for all future relationships. Motherhood and all its discontents was central to Bourgeois’s conception of herself. At the same time, as old age made her frailer and more dependent upon others, there was an unconscious shift towards the mother in her late work.
Made during the last five years of Bourgeois’s life, the gouaches explore the cycles of life through an iconography of sexuality, procreation, birth, motherhood, feeding, dependency, the couple, the family unit, and flowers. In making them, Bourgeois worked “wet on wet”, which meant relinquishing some control over the final result and embracing the role of chance and fate. Red was Bourgeois’s favourite colour, and the intensity of the gouache is evocative of bodily fluids, such as blood and amniotic fluid.
Of particular interest is Bourgeois's collaboration with British artist Tracey Emin (Margate, 1963). On display will be a series of sixteen digital prints on fabric entitled Do Not Abandon Me (2009–10), created as a result of the two artists' meeting. This was a project of great generosity and empathy between Bourgeois and Emin, and succeeds in communicating their own unique artistic languages while also creating strong visual compositions of understanding and tension, raising them to a universal level.
Exceptionally, the Museum's cloister will host Spider Couple (2003), one of Bourgeois's iconic large- scale spiders, made in bronze. The exhibition will be complemented by the special display of two important installations: Peaux de Lapins, Chiffons Ferrailles à Vendre (2006), one of the artist’s Cells, presented in a room on the ground floor of Museo Novecento, and Cross (2002), presented in the former church of the Renaissance building, which women were once forbidden to enter during the celebration of religious rites, as evidenced by the women's gallery separated by iron grilles.
As part of the Florentine project, the Museo degli Innocenti will place Bourgeois’s Cell XVIII (Portrait) (2000) in evocative dialogue with some of the collection's most iconic works. The rare cultural, historical, and artistic heritage of the Museum exemplifies the centuries-old history of the public institution, long characterized by the presence of a conspicuous female community.
Louise Bourgeois grew up just outside Paris, where her parents ran a tapestry restoration workshop and gallery. Her childhood was marked by complex family relationships, which led to traumatic experiences that were a major source of inspiration for her art. From intimate drawings to large- scale installations made in a variety of media, including wood, marble, bronze, and fabric, Bourgeois expressed psychological states through a visual vocabulary of formal and symbolic equivalents. The scale and materials of her works vary as much as the forms, which oscillate between abstraction and figuration. Emotions such as loneliness, jealousy, anger, and fear are common threads in her oeuvre. Her almost obsessive writing, as well as drawing, remained central forms of expression throughout her life.
Through her art, Bourgeois investigated the intricate dynamics of the human psyche and often stated that the creative process was a form of exorcism: a way of reconstructing memories and emotions in order to free herself from their grasp. Although initially she devoted herself to painting and drawing, it was ultimately sculpture that constituted a fundamental part of her work, centered on autobiographical elements often reworked in a metaphorical key. Bourgeois transposed family tensions and traumas, above all the complex relationship with her parents and its broken, damaged, but never severed ties, into numerous works that narrate the shattering experience of abandonment and the longing to connect. Her world of emotional intensity and obsession draws inspiration from the unconscious, seeking to express the unspeakable. Bourgeois thus opens up to a poetics of the uncanny, capable of exorcising trauma and inhibitions. The variety of mediums and techniques Bourgeois employed is extraordinary, and her fertile creativity, curiosity, and experimentation places her alongside the very great artists of the last century. Until the final days of her very long career, she was never idle, nor did she exhaust her intellectual curiosity and creative energy in definitive and repetitive paths and goals.
From her earliest works, Bourgeois established the relationship with the mother as an essential theme, and associated this from the 1990s onwards with the image of the spider. A major spider sculpture – in this case, a mother-and-child pair – will be displayed in the cloister of Museo Novecento as the thematic centerpiece of the entire exhibition. As has often been pointed out, the spider represents for Bourgeois a symbol of her mother, and as such it is the bearer of dual and conflicting meanings. It can be interpreted as the embodiment of extreme intelligence, a protective figure that provides for its young by building a home and securing food. Indeed, Bourgeois herself identified with the spider because she felt that her sculpture came directly out of her body, much as the spider spins its web. But it is also the manifestation of a threatening and disturbing presence, an expression of underlying hostility and aggression that collects and encapsulates traumatic experiences from deep within the unconscious. Thus, the installation of Spider Couple in the Renaissance cloister, designed by Michelozzo and traditionally intended for meditation and contemplation, becomes emblematic. Museo Novecento is also proud to premiere Spider, a floor sculpture consisting of a bronze spider and a mable egg which has never been publicly exhibited before.
Similarly, the choice to exhibit Peaux de lapins, chiffons ferrailles à vendre seems revealing. Among one the last works belonging to Bourgeois’s Cells series, which were first presented to the public in 1991 at the Carnegie Museum of Art in Pittsburgh, its title refers to a childhood memory, that of the cries of rag pickers engaged in selling goods on the street. Within the Cell, Bourgeois inserts a number of sculptural elements that recall her personal and family history, such as cloth sacks and rabbit skins: components referring, respectively, to the empty womb and by extension the female body, and more literally to the animals hunted and raised by her family members. The name of the series plays on the multiple meanings of the word 'cell,' which can be translated into Italian into “cellula” or “cella.” It thus refers as much to the elementary unit of all living organisms as to the condition of isolation, separation, and confinement that characterizes a prison or monastery. These are meanings that take on special resonance within a building that over time has been a hospital, a place of shelter, a space for the education and reintegration for women, a school, and even a prison.
When first introducing her Cells, Bourgeois stated, "The Cells represent different types of pain: the physical, the emotional and psychological, and the mental and intellectual. When does the emotional become physical? When does the physical become emotional? It’s a circle going round and round. Pain can begin at any point and turn in either direction. Each Cell deals with fear. Fear is pain. Often it is not perceived as pain, because it is always disguising itself. Each Cell deals with the pleasure of the voyeur, the thrill of looking and being looked at. The Cells either attract or repulse each other. There is this urge to integrate, merge or disintegrate."
Thanks to the installation inside a room on the ground floor of Museo Novecento, Peaux de lapins, will reveal unprecedented associations with the life of the monastic community that animated the history of the former Leopoldine, a complex that was founded in the 13th century as a pilgrims’ shelter, and which then became a place of convalescence. Since the 16th century, in fact, its management was entrusted to the Franciscan Tertiary Sisters. Later, at the behest of Pietro Leopoldo of Lorraine, the management was entrusted to the nuns of the Conservatorio delle Terziarie (also known as the Giovacchine) and the Conservatorio di Gesù Buon Pastore (also known as the Stabilite), the latter in charge of, among other things, initiating poor girls into women's work (hence the name "Scuole Leopoldine").
Partial evidence of this long affair survives to this day in a series of frescoes, visible in the ground floor rooms of the museum where Peaux de lapins will be presented. Of particular note is a painting depicting a sister inviting silence: iconography, often used in the entrances of refectories and dormitories, that seems to act as a warning to anyone passing through these spaces by hinting at the need for recollection and contemplation even in environments intended for community life. And it is contemplation and silence that the visitor will be invited to consider along the path of the visit, inspiring an in-depth reading of the work and its themes, and even a personal de-construction and elaboration of one's own social models and references, one's own traumas, ghosts, and desires.
The Cell presented at Museo degli Innocenti also invites recollection and contemplation of spaces once daily lived, fitting within the Art route that unites the gallery above the Brunelleschian loggia of the façade and the rooms of the Coretto that overhang the ancient Church of Santa Maria degli Innocenti.
Although belonging to the same series as Peaux de Lapins, the subject of Cell XVIII (Portrait) seems to peculiarly reinterpret the iconography of Madonna della Misericordia, which recurs in some of the most emblematic works in the collection and strongly represents the Institution's vocation of hospitality. In celebrating the role fulfilled by the Institution over the centuries, this image calls to mind the large female community composed of both the girls received and raised here and the figures who, by performing various tasks, have contributed to ensuring that the condition of women, and of mothers in particular, has become part of the institutional mission alongside the promotional activity on the rights of children and adolescents that is today identifiable with Istituto degli Innocenti.
Cell XVIII (Portrait) will therefore be in dialogue with that mission, in the spaces where different stories echo, steeped in the desires and fears also expressed by Bourgeois, which do not, however, exclude here the possible fulfillment of an expectation.
I.M. Pei
I. M. Pei: Life Is Architecture
, Hong Kong [Xianggang], China, M+, West Gallery, 29 june 2024 / 5 january 2025
Gae Aulenti
Gae Aulenti (1927 – 2012)
, Milano (Italy),
Triennale Milano
, 22 may 2024 / 12 january 2025
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