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Fondazione Fausto Melotti Introduction À L’Exposition Introduction to the Exhibition
En collaboration avec : Fondazione Fausto Melotti Introduction à l’exposition Introduction to the exhibition Le Nouveau Musée National de Monaco (NMNM) présente une exposition The Nouveau Musée National de Monaco (NMNM) presents an exhibition consacrée à l’œuvre polymorphe de l’un des plus grands artistes de dedicated to the polymorphous and multi-faceted work of one of Italy's l’entre-deux-guerres et de l’après-guerre en Italie, Fausto Melotti. greatest artists of the interwar and postwar periods, Fausto Melotti. Après avoir obtenu son diplôme d’ingénieur en électrotechnique, Graduating initially in electrotechnic engineering in 1924, Melotti Melotti poursuit ses études à l’Académie des Beaux-Arts de Brera de continued his studies at the Academy of Fine Arts of Brera from 1928 1928 à 1929, où il suit les cours du célèbre sculpteur Adolfo Wildt et y until 1929 under the distinguished sculptor Adolfo Wildt, together rencontre Lucio Fontana, avec qui il se lie d’amitié. with his future friend Lucio Fontana. La recherche des commissaires de cette exposition a commencé The research gathered by the curators began by the observation par un constat sur les relations entre Melotti et le magazine Domus, of the nodal nature in the relationship between Melotti and the fondé en 1928 par Gio Ponti. Ainsi, l’exposition comprend des œuvres magazine Domus, founded in 1928 by Gio Ponti. Accordingly the publiées dans Domus entre 1948 et 1968 et des articles consacrés à exhibition includes primarily works whose photographs were published Melotti ou signés par Melotti lui-même. in Domus between 1948 and 1968, in articles about the artist, as well as those written by Melotti himself. -
Italy Creates. Gio Ponti, America and the Shaping of the Italian Design Image
Politecnico di Torino Porto Institutional Repository [Article] ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE Original Citation: Elena, Dellapiana (2018). ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE. In: RES MOBILIS, vol. 7 n. 8, pp. 20-48. - ISSN 2255-2057 Availability: This version is available at : http://porto.polito.it/2698442/ since: January 2018 Publisher: REUNIDO Terms of use: This article is made available under terms and conditions applicable to Open Access Policy Article ("["licenses_typename_cc_by_nc_nd_30_it" not defined]") , as described at http://porto.polito. it/terms_and_conditions.html Porto, the institutional repository of the Politecnico di Torino, is provided by the University Library and the IT-Services. The aim is to enable open access to all the world. Please share with us how this access benefits you. Your story matters. (Article begins on next page) Res Mobilis Revista internacional de investigación en mobiliario y objetos decorativos Vol. 7, nº. 8, 2018 ITALY CREATES. GIO PONTI, AMERICA AND THE SHAPING OF THE ITALIAN DESIGN IMAGE ITALIA CREA. GIO PONTI, AMÉRICA Y LA CONFIGURACIÓN DE LA IMAGEN DEL DISEÑO ITALIANO Elena Dellapiana* Politecnico di Torino Abstract The paper explores transatlantic dialogues in design during the post-war period and how America looked to Italy as alternative to a mainstream modernity defined by industrial consumer capitalism. The focus begins in 1950, when the American and the Italian curated and financed exhibition Italy at Work. Her Renaissance in Design Today embarked on its three-year tour of US museums, showing objects and environments designed in Italy’s post-war reconstruction by leading architects including Carlo Mollino and Gio Ponti. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
E-Book Francoangeli
319.8_319.1-7000.319 15/07/19 15:36 Pagina 1 319.8 This book offers a key for reinterpreting interior design as a whole, in light of the narrative component of a kind of exhibition design that constantly addresses the measurement of time, which becomes the founding variable TIME to be dealt with on the level of a project. Commenting on the evolution of MIGLIORE I. exhibition design, the volume outlines its future sceneries, arising as an uni- cum from the perspective of the reflection on the role and the developments TO EXHIBIT of this interior design branch. Drawing on over twenty years’ experience in the field, the author gathers Directing Spatial Design and New Narrative Pathways together research purposes and design experimentations, praising both the great past masters of teaching and the contribution of new technologies, TIME TO EXHIBIT EXHIBIT TO TIME Ico Migliore the exploitation of which encompasses new design horizons. Questo libro offre una chiave di lettura per reinterpretare il design degli interni, alla luce della componente narrativa propria di un design espositivo che si confronta con la misura del tempo, quale variabile fondante in sede di progetto. Commentando l’evoluzione dell’exhibition design, il volume ne delinea gli scenari futuri, ponendosi come un unicum nella riflessione sul ruolo e sugli sviluppi di questo ramo dell’interior design. Forte di un’esperienza sul campo di oltre vent’anni, l’autore condensa qui scopi di ricerca e sperimentazioni progettuali, facendo tesoro tanto dell’in- segnamento dei maestri del passato quanto dell’apporto delle nuove tec- nologie. -
1 Craft and the Birth of Post-War Italian Design
Macintosh HD:ROSSI 9780719089404 PRINT.indd / 9:3:AM - 08-12-2014 9:3:AM - 08-12-2014 / Macintosh HD:ROSSI 9780719089404 PRINT.indd 1 ✧ Craft and the birth of post-war Italian design Introduction N N OVEMBER 1950 Italy at Work: Her Renaissance in Design Today opened at New York’s Brooklyn Museum (see plate 1).1 Primarily I American conceived, funded and organised, Italy at Work aimed to boost Italy’s post-war reconstruction by presenting the nation’s hand- made wares to the American consumer. Despite the word ‘design’ in the title, craft materials and techniques dominated the two thousand five hundred exhibits (see figure 1.1) and the five room sets designed by architects including Carlo Mollino and Gio Ponti. Enjoying critical and popular acclaim, Italy at Work spent the next three years travelling to eleven other museums across North America, closing at the Museum of the Rhode Island School of Design in November 1953.2 In May 1951, just as Italy at Work was embarking on the second leg of its tour, the ninth Triennale di Milano esposizione internazionale delle arti decorative e industriali moderne e dell’architettura moderna (Milan Triennial International Exposition of Modern Decorative and Industrial Arts and Modern Architecture) (see plate 2) opened in Milan, with the theme L’unità delle arti (The Unity of the Arts). The Italian architect and artist organisers attempted to project a unified image of post-war modernity, but this was clouded by internal conflicts that reflected wider political turmoil. While industrial design was present, craft remained the main- stay of Italy’s exhibits, and both were given multiple roles by competing visions for the nation’s post-war future. -
Lodovico Migliore INDICE
Lodovico Migliore INDICE Curriculum vitae . Premi . Mostre personali mostre monografiche mostre collettive . Selezione di articoli sul suo approccio al progetto Titoli Ricerca e approccio progettuale nei campi di: . Design/ industrial, furniture, lighting, one off productions . Consulenze . Band identity/ graphic design, corporate identity, merchandising, environmental graphics and way finding. Musei / permanent exhibition design . Mostre e allestimenti temporanei . Allestimenti commerciali . Interior design/ retails, headquarters and offices . Urban design/city events brand identity, way finding and public furniture design . Architettura / architecture, private houses and refurbishing Attività scientifica • Convegni internazionali • Lectures /Seminari/Conferenze • Curatela di mostre/ Comitati scientifici • Brevetti/ Copyright • Concorsi in: Musei Allestimenti temporanei Urban design Architettura Attività didattica • Incarichi/ docenze, temi sviluppati, risultati Laboratori • Tesi di laurea / relatore • Membro di giuria • Workshops Allegato B Pubblicazioni • Selezione di 12 pubblicazioni di Lodovico Migliore Lodovico Migliore 1 CURRICULUM VITAE Lodovico Migliore 2 CURRICULUM VITAE Lodovico Migliore, detto Ico, si laurea in Architettura al Politecnico di Torino con Achille Castiglioni. Lo stesso anno Castiglioni vince la cattedra al Politecnico di Milano e lo chiama, come suo assistente alla facoltà di Architettura di Milano per la gestione dei corsi (conduzione laboratori, membro delle commissioni d’esame, correlatore delle tesi di laurea in qualità di Cultore della materia). Dal 1983 al 1990 è membro del gruppo ricerca C.N.R. (C.T. 83.00801.07) per un ‘Laboratorio di esperienze per il disegno industriale finalizzato al controllo della qualità, diretto da Achille Castiglioni con Enzo Mari, Gino Valle, Raffaella Crespi e Giancarlo Pozzi. Nel 1990, questa ricerca porta alla pubblicazione del volume “Nuove vie del design in Giappone” (ed.Franco Angeli) a cura di Ico Migliore, G.Piccinno e M. -
Minotti | the Magazine 04
/04 Authenticity THE MAGAZINE /04 2019 Authenticity Intuition, passion, and spontaneity represent for us the deepest expression of authenticity. They animate our boundless creative thoughts; every day and wholeheartedly. D THE MAGAZINE /04 EDITORIAL After three issues of our yearly in-house magazine, we thought it was time to rethink this editorial project by grasping its real potential, both as a means to reflect on today’s daily environments and life styles and to encourage an active conversation with complementary fields such as art, design, and fashion. We wanted to transform it into an object of desire, something you can collect in time as an endless source of inspiration and come back to whenever /04 you feel the need to learn from the past. We planned this new project with great enthusiasm and determination. Its aim is to reveal the intangible side of Minotti, its timeless values and creative process, which leads us in developing our brand identity. After a long brainstorming, we decided to start from Minotti, beginning from the family values that have led the company in the past 70 years, and how these values could be shared with a larger community. From this introspection we came to the conclusion that the magazine could slowly reveal Minotti’s DNA, creating a continuous story in time, and carefully weaving it together with other international perspectives. Each number will focus on a specific brand value, and the collection of the issues will unfold a broad awareness of who we are and how others share our attitudes. In this number we will be focusing on Authenticity. -
National and International Modernism in Italian Sculpture from 1935-1959
National and International Modernism in Italian Sculpture from 1935-1959 by Antje K. Gamble A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2015 Doctoral Committee: Professor Alexander D. Potts, Chair Associate Professor Giorgio Bertellini Professor Matthew N. Biro Sharon Hecker Associate Professor Claire A. Zimmerman Associate Professor Rebecca Zurier Copyright: Antje K. Gamble, 2015 © Acknowledgements As with any large project, this dissertation could not have been completed without the support and guidance of a large number of individuals and institutions. I am glad that I have the opportunity to acknowledge them here. There were a large number of funding sources that allowed me to study, travel, and conduct primary research that I want to thank: without them, I would not have been able to do the rich archival study that has, I think, made this dissertation an important contribution to the field. For travel funding to Italy, I thank the Horace R. Rackham Graduate School at the University of Michigan for its support with the Rackham International International Research Award and the Rackham Rackham Humanities Research Fellowship. For writing support and U.S.-based research funding, I thank the Department of History of Art at the University of Michigan, the Rackham Graduate School, the Andrew W. Mellon Foundation and the University of Michigan Museum of Art. For conference travel support, I thank the Horace R. Rackham Graduate School, the Department of History of Art, and the American Association of Italian Studies. While in Italy, I was fortunate enough to work with a great number of amazing scholars, archivists, librarians and museum staff who aided in my research efforts. -
Archivio Del '900 Del Mart – Fondo Luciano Baldessari
Archivio del '900 del Mart – Fondo Luciano Baldessari a cura di Patrizia Regorda Mart, con il contributo della Fondazione Cassa di Risparmio di Trento e Rovereto 2016 L’inventario del fondo Luciano Baldessari è l’esito di un lavoro di analisi, riordino e schedatura informatizzata avviato alla fine del 2014. E’ consultabile online dalle pagine di Trentino Cultura - grazie ad AST, Sistema Archivi Storici del Trentino - e nel sito del Mart attraverso il CIM, Catalogo Integrato del Museo: i due distinti sistemi informativi esaltano da un lato l’appartenenza territoriale dell’archivio, dall’altro il suo dialogo con gli altri fondi dell’Archivio del ’900. L’inventario del fondo Baldessari segna il buon esito di un dialogo fra diverse banche dati, reso possibile grazie alla collaborazione dell’Ufficio Beni Librari e Archivistici della Soprintendenza e delle ditte Informatica Trentina e Memetic di Rovereto. La redazione dell’inventario è parte di un progetto più vasto, che ha promosso la conoscenza di Luciano Baldessari e una lettura riunificata della sua opera, disseminata fra più istituzioni. Ciò è avvenuto attraverso lo sviluppo dell’Archivio digitale di Luciano Baldessari, portale nato per volontà del Dipartimento di design del Politecnico di Milano, e cresciuto grazie al contributo del CASVA - Centro di alti studi sulle arti visive del Comune di Milano - e del Mart. 2 Albero delle strutture Fondo Luciano Baldessari, 1900 - 1999 Corrispondenza, 1918 - 1986 Documentazione relativa ai progetti, 1927 - 1999 Fotografie relative ai progetti, 1900 -
Copper Crossings Copper Shapes in Contemporary Art
Copper Crossings Copper Shapes in Contemporary Art, Design, Technology and Architecture Triennale di Milano September 16th - November 9th, 2014 Opening Monday, September 15th, 2014, 7pm Lucio Fontana, Concetto Spaziale, New York Grattacielo, 1962 Copper, interpreted in all its multiple forms and applications, is the main theme of Copper Crossings, Copper Shapes in Contemporary Art, Design, Technology and Architecture presented at Triennale di Milano from September 16th to November 9th, 2014. The concept of the exhibition is by Elena Tettamanti and is coproduced with Eight Art Project – a new company set up to produce projects in contemporary art and in design – together with Triennale di Milano, Triennale Design Museum and Istituto Italiano del Rame with the patronage of the European Copper Institute. Copper Crossings is curated by Antonella Soldaini and Elena Tettamanti. This is the first exhibition looking at copper from a different point of view thanks to an interdisciplinary approach with more than 250 pieces representative of sectors of the exhibition. An outstanding scientific support is given by Giampiero Bosoni, Ico Migliore, Francesca Olivini and Istituto Italiano del Rame together with a high profile scientific committee consisting of Giampiero Bosoni, Maurizio Decina, Fiorenzo Galli, Ico Migliore and Vicente Todolí. The set up and the graphic project are by studio Migliore + Servetto Architects. Copper Crossing is a journey through works of art, design and architecture, applications in science and technology together with photos and videos where copper is the leit motiv. Different names find in this material a common ground to work according to their personal experiences exploiting in the most innovative ways the formal, structural and plastic qualities of copper. -
MELOTTI Born Trentino, Italy 1901-1986
FAUSTO MELOTTI Born Trentino, Italy 1901-1986 Prizes & Awards 1986 Golden Lion, awarded posthumously, XLII Biennale, Venice, Italy 1978 Premio Antonio Feltrinelli for sculpture, Academia Nazionale dei Lincei 1977 15th Premio Europeo Umberto Biancamano 1974 Rembrandt Prize, Johann Wolfgang von Goethe Foundation, Basel, Switzerland 1964 Gold Medal, International Exhibition, Munich 1962 Gold Medal, International Exhibition, Prague 1958 Grand Gold Medal for Italian craftsmanship, Milan 1951 Grand Prize, IX Triennale di Milano 1938 Premio La Sarraz, Switzerland Selected Solo Exhibitions 2005 “Fausto Melotti,” Museo Fondazione Luciana Matalon, Milan, Italy “Fausto Melotti,” Galeria Elvira Gonzalez, Madrid “Fausto Melotti,” Galerie Karsten Greve, Cologne, Germany 2004 “Fausto Melotti,” Musée des Arts Contemporains, Grand-Hornu, Hornu, Belgium “Fausto Melotti,” Palazzo Binelli, Carrara, Italy 2003 “Fausto Melotti,” Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy “Fausto Melotti,” Galleria Bottega d’Arte, Acqui Terme, Italy “Fausto Melotti,” Amadeo Porro Arte Moderna e Contemporanea, Milan, Italy 2002 “Fausto Melotti,” Il Segno, Rome “Fausto Melotti,” Musée Picasso, Antibes, France “Fausto Melotti,” Leo Castelli Gallery, New York 2001 Fausto Melotti,” Nicolas Sursock Museum, Beirut “Fausto Melotti,” Carlina Galleria d’Arte, Turin, Italy “Fausto Melotti,” Museo Virgiliano, Virgilio, Italy “Fausto Melotti,” Compagnia di Belle Arti, Milan, Italy 2000 “Fausto Melotti,” Fondazione Bandera per l’Arte, Busto Arsizio, Italy -
Rifkind Quadrante Bardi
Pietro Maria Bardi, Quadrante, and the Architecture of Fascist Italy David Rifkind Florida International University Before I begin, I would like to thank Ana Magalhaes, Luciano Migliaccio and Paolo Rusconi for the kind invitation to participate in this fascinating and important conference. 1 for Roberto Segre I want to begin by dedicating this lecture to my friend, Roberto Segre, one of those extraordinary Italians who shaped the discourse of Latin American architecture, and whose love of Brazil was quite profound. 2 The short-lived cultural journal Quadrante transformed the practice of architecture in fascist Italy. Between 1933 and 1936 the magazine agitated for an “architecture of the state” that would represent the values and aspirations of the fascist regime, and in so doing it changed the language with which architects and their clientele addressed the built environment. The journal sponsored the most detailed discussion of what should constitute a suitably “fascist architecture.” Quadrante rallied supporters and organized the most prominent practitioners and benefactors of Italian Rationalism into a coherent movement that advanced the cause of modern architecture in interwar Italy. 3 Luigi Figini, Casa Figini, Milano, 1933. Quadrante 31/32 (November/December 1935). My research investigates the relationship between modern architecture and fascist political practices in Italy during Benito Mussolini's regime (1922-43). Rationalism, the Italian variant of the modern movement in architecture, was at once pluralistic and authoritarian,