GAETANO PESCE Il tempo della diversità (The Time of Diversity)

MAXXI, June 26 – October 5, 2014

www.fondazionemaxxi.it

Rome, 25 June 2014 . Throughout his entire life he has theorized diversity, randomness, the breaking down of barriers between subject areas, freedom from conformism and predictability, designing objects inspired by people that respect life’s unpredictability, praising flaws and errors: this is Gaetano Pesce, architect, designer, world-famous artist to whom MAXXI, under the direction of Giovanna Melandri, from June 26 to October 5, 2014, will dedicate the exhibition Gaetano Pesce. Il tempo della diversità (The Time of Diversity), curated by Gianni Mercurio and Domitilla Dardi, Design Curator for MAXXI Architettura, directed by Margherita Guccione .

A major exhibition organized thanks to the contribution of Eni, which traces out the creative path taken by Pesce from his outset to his most recent research. The common thread comprises the themes of creativity and the work of art as an open-ended commentary on reality, a distinguishing feature of this designer’s thinking and artistic output.

The designs, models, sketches, original maquettes and life-size objects on display underscore the concepts underlying Pesce’s projects, and are arranged along a path in which visitors can play a leading role, as they become involved in the choice of seven thematic routes which guide them along the history of this artist’s production: Non standard, Persona, Luogo, Difetto, Paesaggio, Corpo, Politica (Not Standard, Person, Place, Flaw, Landscape, Body, Politics).

The exhibition will occupy all of Gallery 1 on the ground floor, and its first part will be characterized by an installation built upon a system of 40 mobile panels, which, through various expressions, recount Pesce’s work from the 1960s to the present.

The theme of diversity , which underlies the whole exhibition, is indeed expressed in the idea of an installation in fieri , in which the public is guided by an ever-changing reading of the event, constantly achieved through the random and variable arrangement of the panels.

The second part is conceived in such a way as to contrast with the previous one: from a forest of mobile panels reminiscent of a labyrinth, the visitor will enter a larger room dominated by a single work: aninstallation conceived and realized specially for MAXXI, and centering on time.

Dominating the outside piazza, instead, is a giant version of Up 5&6, the icon/armchair in the shape of a woman created by Gaetano Pesce in 1969 to denounce the status of women. This large chair, also known as Donna and Mamma , incorporates many of the recurring themes in the author’s production, including the relationship with the body and the performative aspect. Combined with a meaning filled with great intensity, a warning against women’s condition in the world. Up 5&6 represents the way Pesce makes art starting from reality and for real life, and in its giant version, which converses well with MAXXI’s spaces, the attempt is made to create a place of reflection in which to deal with this still dramatically topical theme.

“I’m proud to show my work at MAXXI – says Gaetano Pesce - the cultural institute in the capital city of my country. The exhibition includes works from the past, the present, as well as ones made especially for this exhibition, such as the two installations, one of which dedicated to time, which changes as it passes, unlike how it is generally conceived, and the other to an armchair that, since its first edition, turns 45 today. I conceived this chair, which metaphorically chains a female body to a ball, to denounce the state of

imprisonment that women are subjected to due to male bias. The armchair will be installed in the museum piazza, in a new macroscopic 7 meter high version, and within it will be a series of questions on the condition of women in the world, with a special tribute paid to Malala Yousafzai and her courage. The purpose of this exhibition, which questions women’s contemporary condition, is also to assert the need for today’s artistic work to be multifarious, as it was in the past. Certain Renaissance artists come to mind, artists who managed to show that there are no barriers between the different art forms.

“In a museum inclined to innovation the way ours is - says Margherita Guccione , Director of MAXXI Architettura - Gaetano Pesce’s creative commitment represents an ongoing and constant research into the language, the formal results and the ways of producing. Multifarious and unconventional, this exhibition, which includes works that range from the 1960s to the present, is also enriched with two site-specific installations. Conceived specially for the museum, the two new works confirm MAXXI’s intention to be a vital focus of cultural production.

“The exhibition focuses on the sense of diversity as change and transformation – says Domitilla Dardi, curator of the exhibition. Rather than introducing a rigid interpretation of Pesce’s work, who for decades has theorized on creative chaos and a breaking down of disciplinary fields, we have chosen to recount his works through key-words and a mobile installation, one that changes in time. The result of this is an ever-changing itinerary where everyone is free to move about amid the objects which are deliberately not condescending or consoling, but are a display of things in all their exciting truth.”

“Pesce has reconciled the demand for diversity that is recorded in our day and age with the theme of social utility, which he extends to the methodological study of new instruments for production – says Gianni Mercurio, curator of the exhibition. This explains why his exploration has developed by probing the needs of the individual, new constructive typologies and the rationale of cultural, ethical, economic and political transformation, to then elaborate theories that have had, and continue to have, surprising results”.

The publicity pack and images of the exhibition can be downloaded from the Reserved Area of the Fondazione MAXXI’s website at http://www.fondazionemaxxi.it/area-riservata/ by typing in the password areariservatamaxxi

MAXXI - Museo nazionale delle arti del XXI secolo www.fondazionemaxxi.it - info: 06.320.19.54; [email protected] opening hours: 11 a.m. – 7 p.m. (Tuesday, Wednesday, Thursday, Friday, Sunday) 11 a.m. – 10 p.m. (Saturday) closed on Mondays and on May 1 and December 25

Ufficio stampa MAXXI +39 06 3225178, [email protected]

GAETANO PESCE AND NEW YORK Giovanna Melandri, President Fondazione MAXXI

“The city that never sleeps ”. These are the words used to describe the vitality and energy of New York, a unique, cinematographic city, capable of dynamically reinventing itself at every hour of day. A city that never stops, that looks to the future with an ever-changing gaze, even, and perhaps above all after the terrible tragedy that scarred it. Today New York is the new capital of the start-up and the backdrop to many success stories that inspire young people to make their dreams come true and build a future for themselves. An “ecosystem” that’s conducive to business and innovation. In 1983 Gaetano Pesce – Ligurian artist-cum-architect – chose to live right in New York instead of in one of the many European cities; New York welcomed him, stimulated him and fit his visions and designs like a glove. I am tied to Gaetano Pesce by a bizarre coincidence that has made our encounter rather special. The house where I was born, some time ago, opposite Gracie Mansion, the Mayor of New York’s residence, is the same building where Pesce lives today, where each and every day he explores new creative tracks. In New York fate can be surprising. This city is the perfect stage for Pesce, a remarkably creative mind who moves skilfully amidst the arts. And it is to this metropolis that the artist pays tribute with his exemplary works, such as his Tramonto a New York (1980) and Notturno a New York (2010) sofas, as well as with his well-known WTC – Rebuilding Project (2012) – two towers held together by a large luminous heart – made after the terrorist attack on September 11, 2001. This remarkable and “unique” creativity plays the leading role at the retrospective Il Tempo della Diversità that we at MAXXI are pleased to host. A retrospective that leads us to a central theme of this day and age: the need to express uniqueness and diversity, to be different from each other and, at the same time, to be part of a community. The exhibition recounts the artist’s multidisciplinary sensibility, his aptitude for playing with ideas, trying out new forms and colors and materials, venturing into the as yet unexplored areas of contemporary creativity. In presenting these projects made over the years, with endless research and attention to the contexts and events that influence history, we wish to invite the public to understand just how much ideas, translated into art, architecture and design, constitute the strength and expression of the different eras, but are above all capable of foreshadowing them. Because ideas, just like cities, never sleep. This is what emerges and what we want to communicate forcefully through this exhibition dedicated to Gaetano Pesce. MAXXI, as a museum that is committed to promoting excellence in contemporary art, indeed presents artists, architects and projects capable of posing questions, tracing visions and anticipating changes. This, too, is the value of Italian culture: to invent and conjure up solutions and worlds that don’t exist yet and to start out from there in order to offer new prospects.

GAETANO PESCE’S MULTIDISCIPLINARY THINKING Margherita Guccione Director MAXXI Architettura

Gaetano Pesce at the MAXXI. Why? How does this cultural project dovetail with the scientific program that the Museum of Architecture is developing and implementing? What underlies the study dedicated to one of the most famous representatives of contemporary culture, capable of expressing and foreshadowing today’s figurative universe – architectural, artistic and design- related – by exploring all the scales of creativity from micro to macro? Frankly, the Gaetano Pesce exhibition is not just a major monographic installation confirming MAXXI Architettura’s vocation to recognize the most original forms of contemporary artistic expression. It is a chance to hark back to and delve further into the themes and research areas that, starting from architecture, explore the many intersections of this discipline in contemporary languages and paradigms. Gaetano Pesce’s work, that of an all-round creative, explicitly represents the sense of a liquid creativity that acknowledges and recalls events, but that above all invents processes and cross-pollinates images, embarking upon new and continually renewed configurations, the expressions of a creativity that is complex and ongoing because it is fed by continuous grafts. Architect and artist, it is the expression of a very personal manner of creating, where the formal aspect coincides with innovation, and with the response that the most disparate of materials – foams, resins and polymers – can give to different moldings and manipulations, seeking results that are ever-different. Because "repetition is the death of creativity,” as the artist has often stressed. His research and his multidisciplinary approach are strongly inspired by female thinking, by its inclusive capacity, capable of connecting many languages, of holding together rationales and emotions. The female body just hinted at in Up 5&6 gigante?, which in MAXXI’s piazza heralds the exhibition route, performs the task of recounting modern woman’s condition of “enslavement.” The awareness that architecture and design are languages through which to express themes and thoughts crosses seven themes that freely trace Gaetano Pesce’s oeuvre, thanks to the critical reading of the two curators. . Body, Defect, Not Standard, Person, Landscape, Place, Politics can actually be summed up in a single word: Creativity, in its most absolute sense, of experimentation tout court , in which there can be no rules, as everything that is innovative overrides the pre-ordained. It is a creativity that combines content and form and in which the artist is both intellectual and creator, capable of gathering within himself all the forms of artistic expression and translating them into works, objects, thoughts and words. That is to say, ideas and visions that are offered to the public through objects laden with emotion, in order to suggest a mental experience, rather than a simple exhibition. Mounted on wheeled panels, conceived by the author so that they can be moved around by the visitors, they underlie an interactive installation, a new challenge that seeks out never-before-imagined relationships between the museum spaces and its public, called upon directly this time to freely come to terms with the multisensorial and pluralist nature of Pesce’s thinking.

DESCRIBING DIVERSITY by Domitilla Dardi

(from the catalogue Il Tempo della diversità Electa)

The fact that a “scientific” catalogue of Gaetano Pesce’s work has never been written comes as no surprise. Monographs, a large number of articles and several object-books have been written about him, which are to be considered a direct product of his artistic activity, but still no general catalogue. On the other hand, the latter - and to a different degree an exhibition – is by definition an attempt to arrange the work of an artist into some kind of order while following principles, criteria, critical selections. But how does one juxtapose this modus, which necessarily requires a design, a pattern, some sort of taxonomy, with the work of the person who has for his entire life theorized diversity, randomness, the knocking down of disciplinary barriers, the overcoming of the rigidity of genres, and freedom from predictable and conformist modalities? At first sight, any attempt in this direction would appear to be a contradiction in terms, or, at least, infidelity to his integrity of thinking. What’s more, a doubt arises as to whether or not this operation to arrange things properly is legitimate, and we wonder whether his success can be seen as a threshold or, on the contrary, a failure.

To help us out in this stalemate, fortunately, we have the author’s own work. In 1963 Gaetano Pesce designed his Modello di Casa Elastica , followed, a few years later, by Il Manifesto per un’Architettura Elastica (1965), published during his stay in Finland. The project had explosive force, especially if compared with what was around in those years in the trade journals: the idea was that of a house where the rigidity of the functional spaces was contrasted by the flexibility of the walls that became moving panels, pivoting surfaces that transformed space by following life itself, its needs and habits, but also unpredictability and the very human element of incoherence. In other words, what is exemplified is not so much the possibility of waiving the rules, but rather the systemic nature of the exception. Not anarchy, but self-government instead, the regulation of the individual with his flaws, against the repression of standardizing models. That’s when this ode to diversity takes on multifarious meanings. First of all, that of changeability and multiplicity. But also that of the struggle against the repression of homologating and coercive consumption.

Last but not least, the sense of diversity as change and transformation in the passing of time, another key theme in Pesce’s work, which comes back in the title of this exhibition – chosen by the designer himself – but also in two projects that open and close it: a 1974 timepiece that doesn’t mark an abstract flow of time, but that of a man’s life, with its ebbs and flows, its start and its finish, by way of a complex mechanism such as that of its cogwheels; the second one is a timepiece made of ice – represented in an unpublished video- installation conceived and specially realized for MAXXI – which is consumed in time by slowly melting and, in doing so, produces drops whose consistency and sound are unpredictable, just like nature and life. Objects that deliberately neither condescend nor console, that do not mystify the transience of things, but rather reveal it in all its moving truth.

In between, from one thing to the next, apparent chaos.

GAETANO PESCE, THE MAVERICK. by Gianni Mercurio

“It is no longer the time for coherence, we have to follow reality. Which is by no means coherent” (Gaetano Pesce)

(…)

Pesce has always refused to be constrained within any aesthetic or disciplinary field. He sees no separation between his work as a designer, artist and architect. He himself states: “Specialization leads to solitude. While a ‘horizontal’ approach allows the possibility of contact with multiple fields of knowledge.” From his earliest work, Pesce has been determined to bring to light the communicative power materials may take on when skilfully manipulated. On the conceptual level, in the realisation of his works he has included within each object a narration, from which emerge the aspirations and uncertainties that connotate the existential dimension of each individual. In order to accentuate the sense of emotive participation he has emphasised the expressive values of the materials manipulated, of which the eye has a tactile perception ; the message that Pesce wishes to transmit through his objects thus takes on a plastic aspect that was once the exclusive province of form. This technical assumption, together with the practise it accompanies, ensures that the object represents a critical commentary of the real: in nullifying the grids that cage the relationships between form and function, the psychological functions of the object emerge. Considering the experience of stylistic formalism to be a closed chapter, and working on the basis that the idea of man is common to all individuals while at the same time each individual is different, Pesce has conceived a diversified production within the industrial process, which in his opinion should be founded on the peculiarity of subjective experience and the pluralism of contemporary society. Within this perspective of renewal, the resources on which he draws are developed in a figurative and narrative rather than aesthetic key: he has thus reaffirmed the predomination of language over style. The innovative character of architecture, as with design, should not therefore be sought in the formal or syntactic aspects but rather in the semantic pregnancy of the materials and in their hermeneutic versatility. Language and material coincide; invention is material , it involves the senses and, through the evolution of the technologies employed, conforms to the requirements of the present of which it becomes an interpretative tool. Pesce has always been interested in the possibility of inserting the unexpected into the virtuous cycle of the transformation of the project and its initial conversion into object. The open variables that he has identified during the course of his experimentation find a strength in the acceptance of the defect within the logic of production. The imperfection, rather than being seen as an error, is thus converted into a distinguishing feature: in this approach, the defect, as well as becoming an expressive quality, is to be considered as an aesthetic category. The accident generates a variable, the implications of which render objects expressions of different moments within the same production; it is an occurrence, which introduces the element of time. Breaking the continual line, with neither beginning nor end, of seriality is the correct way, in Pesce’s philosophy, to invest the object with a requisite that in terms of unvarying succession breaks away from the mechanical chain that generated it, permitting its identification in virtue of its diversity; a requisite that gives the object itself the opportunity to narrate . Pesce thus charges the object with a dialogical quality. There is no narrative within a homologous process, only variance gives rise to a story. (…..) Entrusting the realisation of a project to an incontrollable variable that provides for error equates to undermining the prerequisites for the serial production of objects. This position finds confirmation in a number of theses expressed by Warhol in that period regarding the importance assumed by defects in the production of serial silk-screen prints. Although they reiterate the same image, mechanically produced one by one, Warhol’s silk-screen prints on canvas become unique pieces thanks to the registration errors in printing, the bleeding of colours, over-abundant or scares inking, slack canvases, incorrect pressure on and failure to clean the filter. However, while Warhol conceives his works as a mirror of a society that sees in homologated serial production the principal generator of wealth, and consequently transfers the art object to serial production, Pesce extrapolates the functional object from homologated serial production to give it the quality of uniqueness. What Pesce creates, from a certain point of view, is an inverted ready-made : “Marcel Duchamp is dead”, he writes. Duchamp appropriated the industrial object to transpose it to a different semantic plane, converting it into an art object. Pesce instead appropriates themes and contents from art and converts them into objects for everyday use. Take, for example, the Mano di Dio ashtray from 1969,

consisting of an open hand on its back, which opens at the centre with a stigma carrying the traces of shed blood. Extinguishing a cigarette in that precise point, metaphorically obliges the gesture of reopening a wound. (…..) Contributing to the unpredictability of the solutions in Gaetano Pesce’s creative methods are the fluid, combinable nature of the materials he privileges and the malleability of silicone rubbers, as in the case of the Senza Fine series of armchairs in which a continuous hot extruded polyurethane cord is applied to a mould in an uncontrolled fashion until the operator making the piece considers the form achieved to be sufficient. In spite of Pesce’s repeated anti-abstraction declarations, in works such as these, as in his jewellery or in the use of coloured resins casually spread on the surface, the appeal that action painting exercise on the artist is clear, to the extent that he entrusts the creation of a functional object to a method that recalls the painterly dripping typical of a certain expressionism. Pesce constantly refers to the individual, to history, to the sacred, to politics, to the most playful aspects of life and its uncertain side and hidden face. Emblematic in this sense is the project for the Greene Street Chair , produced by in 1984: a lopsided, eight-footed organism, with two circular holes on the backrest like two wide-open eyes and another rectangular aperture forming a gaping mouth. Eight support elements for a single chair are excessive, but here the superfluous is functional in terms of an idea carrying a message, it is a meta-function: rather than lending stability to the object the over-abundance of supports instead transmits a sensation of instability that renders it anti-functional, or rather dis-functional. The legs of the chair are, in fact, excessively slim with respects to the standard, the are more akin to crutches (for the chair) than structural elements. The theme of the mal fatto or poorly made , which is central to Pesce work and supports the theory of the diversified series, is joined by that of the mal fermo or unstable . The chair, an anthropomorphic material concept, communicates the man’s inability to maintain himself upright, “it expresses two issues”, writes Pesce in a 1993 letter to David A. Hanks & Associates, “the first is the uncertainty of this historical moment… , an era in which values are mutating. The consequence is insecurity – with regards to politics, religion and culture, with regards to the future of certain minorities or ourselves - … We are accustomed to considering, wrongly, a chair as an element of stability, but I want people to reflect on instability. The Greene Street Chair has a more flexible structure than a traditional chair. Its eight slim legs give rise to a certain movement. The second issue concerns the idea of a chair that acts a screen for the person occupying it. This is why the form recalls that of a mask.” There is an existentialist vein in this. It should be clear, the angst, the psychiatric obsessions and the nihilist or decadent strands of existentialism do not belong to Gaetano Pesce; his is rather a clarified, positive version that captures certain typical characteristics of existentialism, such as the suspension between realism and lyrical symbolism and the primacy of the author's individual awareness over the description of the external reality. For Pesce, therefore, the issues of life become part of the work, condensing into their figural dimension: this above all, rather than the formal results, is his mode of being Pop. “My research is not scientific, it does not start out from organized bases but from sensations I generally receive when observing the street: how people dress, speak or move… for me inspiration is the wholly casual fruit of the observation of reality. Of facts and ideas. For me design is not a baggage of formal elements. I am interested in conveying contents through a commentary on reality. ”

Pesce’s work feeds on sensorial perceptions and explores the sphere of human behaviour. Its aesthetic style demonstrates how the distance between design and art shrinks to open a network of relations and shared elements, of intimately entwined references. Rather than a stylistic fragmentation, what emerges with Pesce is the fragmentary nature of everyday reality in which real time, experienced time and duration become flexible paradigms of an aesthetic and existential concept in which the form of things is naturally diversified as the final episode of a process rather than its beginning.

Extract from the critical essay in the catalogue Gaetano Pesce. Il tempo della diversità, Electa

ELENCO OPERE SUDDIVISE PER PERCORSI TEMATICI: Non standard, Persona, Luogo, Difetto, Paesaggio, Corpo, Politica

• CORPO Piéce per una fucilazione / Piéce for a Shooting Execution, 1967 Modello/Model - legno, PVC, lamina metallica, gommalacca e tubi in ottone/wood, PVC, metal foil, shellac and copper tubing

Mano di Dio / Hand of God, 19698 Posacenere/Ashtray - gesso, smalto e ferro/gesso, enamel and iron UP 5&6, 1969 Disegni/Drawings - matite colorate e correttore su carta/coloured pencils and correction fluid on paper progetto/concept, 1968

UP 5&6 in wood, 2014 Prototipo/Prototype - legno massello di Samba/solid Samba wood

Habitat for 2 and for 12 people, 1971 Habitat for 2 people Disegno planimetrico/Plan drawing - matite colorate su carta da lucido/coloured pencil on trace paper Modello/Model - legno laccato/lacquered wood Psychological behavior of its inhabitants Disegni/Drawings - matita su carta da lucido/pencil on trace paper

“Paesaggio Domestico (Scene di vita familiare)” “Domestic landscape (Scenes of family life)” Film di/by GP e/and K. Zaugg

Golgotha, 1972 Disegno/Drawing - colori a olio su carta/oil paint on paper Poster pubblicitari/Advertising posters stampa tipografica/relief print Modello/Model fibra di vetro, poliestere, resina e legno fibreglass, polyester, resin and wood Sedia/Chair fibra di vetro e resina/fibreglass and resin

Genesi? / Genesis? , 1973 Lampada prototipo/Prototype lamp - resina poliestere, pezzi di rifiuti e vetro di Murano/polyester resin, garbage and Murano glass

I Feltri / The Felts, 1986 Primo prototipo/First prototype - feltro di lana impregnato di resina poliestere/wool felt soaked in polyester resin - prodotta da/produced by Cassina, 1987 Fotografia/Photograph ristampa/reprint, 2014 Disegni/Drawings, 1987 acquerello e inchiostro su carta/watercolour and ink on paper

Divano per massaggi/Massage Sofa, 2002 Divano/Sofa - acciaio, poliuretano sagomato a mano e tessuto rasatello/steel, hand-moulded polyurethane and sateen fabric

Feminino, 2004 Poltrona/Armchair - gomma, fibra naturale e metallo/rubber, natural fibre and metal

Vase with legs, 2006 Disegno/Drawing - matite colorate su carta/coloured pencils on paper

• POLITICA

Il Pugno (si è dischiuso etc…)/The Fist (it has opened etc…), 1971 Disegno/Drawing - matita nera, pastelli colorati e pennarello/black pencil, coloured pastels and marker Prototipo/Prototype - gesso e gomma sintetica/gesso and synthetic rubber Collection

Chiesa dell’isolamento/The Church of Solitude, 1974 Modello/Model - legno, metallo, cartapesta, gouache e gommalacca/wood, metal, papier mâché, gouache and shellac Sezione longitudinale (disegno)/Section (Drawing) acquarello, inchiostro colorato, gouache e grafite su carta/watercolour, coloured ink, gouache and graphite on paper Planimetria (disegno)/Site Plan (Drawing) acquarello, inchiostro colorato, gouache e grafite su carta/watercolour, coloured ink, gouache and graphite on paper Sezione trasversale (disegno)/Cross Section (Drawing) acquarello, inchiostro colorato, matita su carta/watercolour, coloured ink, pencil on paper

Progetto per la Biblioteca Nazionale Pahlavi, Teheran/Design of Pahlavi National Library, Teheran, 1977 Disegni/Drawings matite, pennarello, acquarello, grafite su carta/pencils, marker, watercolour, graphite on paper

Pugno all’architettura/A Punch to Architecture, 1979 Modello/Model - bronzo/bronze Disegno/Drawing - matite colorate su carta/coloured pencils on paper

Chicago Tribune Tower, 1980 Modello/Model - resina flessibile/flexible resin Collezione Gaetano Pesce/Collection of Gaetano Pesce

Pluralist Tower, 2014 Modello/Model progetto/project, 1987 uretano policromo/polychrome urethane

Affiche manifeste Poster pubblicitario/Advertising poster, 1980 stampa tipografica/print

Italia in Croce/ on the Cross, 2010 Modello/Model - legno, resina e pietre/wood, resin and stones

• PERSONA

Les Halles, 1979 Fotografia del modello/Photograph of the model, 1979 ristampa/reprint, 2014

Dalila Chair, 1980 Modello/Model schiuma di poliuretano rigido, cartapesta, stucco veneziano, gomma lacca/rigid polyurethane foam, papier mâché, Venetian plaster, shellac pelle industriale/industrial skin, 1999 Maison des Enfants, 1985-86

Disegni/Drawings, inchiostro cinese, matita e pastelli colorati su carta/India ink, pencil and coloured pastels on paper Modello/Model, 1985-86 legno e materiali sintetici policromi/wood and polychrome synthetic materials

Human shape cabinet, 1991 Disegno/Drawing - colori a olio su carta/oil paint on paper

Verbal Abuse Lamp Lampada/Lamp, 1994 uretano, acciaio e piombo/urethane, steel and lead

Chador Lamp Lampada/Lamp progetto/design 1997 prototipo/prototype 2010 resina uretanica/urethane resin

Olo Lamp, 2001 Lampada/Lamp uretano/urethane Disegno/Drawings acquerello su carta/watercolour on paper

Do you still love me? , 2007 Armadio/Wardrobe resina colorata, legno e metallo/coloured resin, wood and metal

L’Abbraccio / The Embrace, 2010 Armadio/Wardrobe resina poliuretanica, cerniere di rame, legno laccato/polyurethane resin, copper hinges, lacquered wood

Kid Lamp, 2013 Lampada/Lamp spago e resina/twine and resin

• PAESAGGIO

The Organic Building, , 1989 Disegno/Drawing inchiostro cinese su carta da lucido/India ink on trace paper Fotografia/Photograph, 1993

Montanara Divano/Sofa, 2009 poliuretano flessibile e tessuto stampato/flexible polyurethane and printed fabric

O Sole Mio Lampada/Lamp, 2007 resina poliuretanica/polyurethane resin

Ocean Table, 2012 Tavolo/Table - schiuma di poliuretano rigido, PVC, resina epossidica e resina uretanica/rigid polyurethane foam, PVC, epoxy resin and urethane resin

Cloud Lamp, 2013 Lampada/Lamp - Dacron e resina/Dacron and resin

Airport Lamp, 2014 Lampada/Lamp - resina, piombo e canna da pesca/resin, lead and fishing rod

• NON STANDARD

Yeti Sofa, 1968-69 Disegno/Drawing - pastello su carta/pastel on paper

La canzone dello Yeti/The Song of the Yeti Disco 33 giri in vinile/33 inch vinyl record, 1970

Sit Down Armchair, 1975 Poltrona/Armchair - compensato, schiuma di poliuretano, imbottitura di cotone poliestere rivestito/plywood, polyurethane foam, wrapped polyester cotton stuffing

Sansone, 1979 Disegno (The mold of Sansone Table)/Drawing (The mold of Sansone Table) matite colorate su carta/coloured pencils on paper Collezione Gaetano Pesce/Collection of Gaetano Pesce Tavolo/Table, 1980 resina poliestere policroma colata/multi-coloured poured polyester resin

Bibliothèque Carenza, 1981 Libreria/Bookcase - mousse di poliuretano espanso/rigid polyurethane foam serie da 20 a 25 esemplari non numerati/series of 20 to 25 unnumbered examples

Greene Street Chair, 1984 Disegno/Drawing - olio su carta/oil on paper Sedia/Chair, 1984 fibra di vetro e acciaio/fibreglass and steel

Friend Lamp, 1995 Pelle industriale/Industrial skin - resina/resin Lampada/Lamp, 1995/2014 resina, metallo, grafite/resin, metal, graphite

Lustre for Lille, 1997 Lampadario/Chandelier vetro riciclato e metallo/recycled glass, steel skeleton

Nobody’s Perfect, 2000 Disegno di sedia a multipli piedi/Drawing of a chair with multiple feet olio su carta/oil on paper Sedie/Chairs, 2002 resina/resin

Bee Lamp Lampada/Lamp, 2006 uretano traslucido flessibile/flexible translucid urethane

Fontessa Shoe Scarpe/Shoes, 2010 PVC

Senzafine Unica/Without a Unique end, 2011 Disegno/Drawing - matite colorate su carta/coloured pencils on paper Poltrona/Armchair- silicone/silicon

Flame Vase, 2012 Vaso/Vase - resina poliuretanica/polyurethane resin

• LUOGO Restoration of a late romantic villa, 1973 Modello/Model - legno, cartapesta, gommalacca e gouache/wood, papier mâché, shellac and gouache

Heart Lamp, 1979 Disegno/Drawing - matita e colori a olio su carta/pencil and oil paint on paper Lampada/Lamp, 2012 base pietra d’Istria, stelo ottone satinato, cuore in resina, luce led

Progetto di riabilitazione del Lingotto / Project for the Rehabilitation of the Lingotto, 1983 Bassorilievo/Bas-relief poliestere e lamina di acciaio/polyester and steel plate

Vesuvio Coffee Maker/Macchina da caffè/Coffee Maker, 1992 alluminio e poliuretano rigido/aluminium and rigid polyurethane

Rubber House, 1997 Modello/Model - gomma/rubber

Bahia House, 1998 - 1999 Disegni/Drawings, inchiostro e acquarelli su carta/ink and watercolour on paper Fotografie di/Photographs by Ruy Teixeira, 1999

Pavilion Gourmand Avignone, 1999 Modello/Model- silicone, legno, resina, cartapesta/silicone, wood, resin, papier mâché Collezione Gaetano Pesce/Collection of Gaetano Pesce

9/11 Cabinet, 2002 WTC Silicon Carpet Tappeto/Carpet silicone/silicon Armadio/Wardrobe, 2007 resina uretanica e metallo/urethane resin and metal WTC Rebuilding Project Fotografie/Photographs, 2012

Lettera al Presidente/Letter to the President, 2010 Copia della lettera, 29 novembre 2010/Copy letter, 29 November 2010 Lettera originale della risposta di Napolitano, 23 dicembre 2010 Original letter of the response from the President of the Italian Republic G. Napolitano, 23 December 2010

Progetto Passaporti Italiani, 2012 Italian Passports Project Disegno/Drawing - matite colorate su carta/coloured pencils on paper Stampa/Print, 2014 inchiostro su carta/ink on paper

Tramonto a New York/Sunset in New York, 1980 Divano/Sofa - legno, schiuma poliuretanica, tessuto stampato/wood, polyurethane foam, printed fabric Galleria One Piece Art di Olimpia Orsini, Roma

Bird Tower, 2013 Modello/Model - legno, resina/wood, resin

Bricole in laguna / Mooring, 2013 Dolphins in the Lagoon Lampada/Lamp - resina/resin

Pescetrullo, 2008-2013 Modello/Model, legno, cartapesta, materiale vegetale/wood, papier mâché, vegetal material

• DIFETTO

Occhiali asimmetrici/Asymmetrical Eyeglasses, 1973 Collage - carta/paper

Pratt chair, 1984 Disegno/Drawing - gouache su carta/gouache on paper Pratt chair n. 8, 1983 resina uretanica policroma/multi-coloured urethane resin

Wan – Chai chair, 1986 Disegno/Drawing - olio su carta/oil on paper Sedia/Chair uretano/urethane

Pezzi per il corpo/Pieces for the Body Gioielli/Jewellery, 2012-2014 resina poliuretanica colorata /coloured polyurethane resin

Medusa vase, 2010 Vaso/Vase - resina/resin

• OPERE VARIE

Casa Elastica / Elastic House Modello/Model progetto/concept 1963 realizzazione/realisation 2014 plexiglass, lamine d’acciaio e ottone/plexiglas, steel plate and copper

Moloch, 1971 Lampada/Lamp metallo, ferro, ABS, vetro/metal, steel, ABS, glass

Alfabeto e numeri/Alphabets and Numbers, 1973 lettere in 3 dimensioni/3D letters, 1973 palissandro brasiliano/brazilian rosewood

Orologio (macchina per misurare il tempo della vita)/Clock (machine for measuring the time of life), 1974 Fotografia/Photograph

Donna Vitruviana/Vitruvian Woman, 2013 Stampa/Print - inchiostro su carta/ink on paper

Chi è il gatto?/Who is the cat?, 2013 Pannello/Panel - resina/resin

Affezioni / Affections, 2014 Pannello/Panel - resina/resin Collezione Gaetano Pesce/Collection of Gaetano Pesce

Il piede / The Foot, 2014 Pannello/Panel - resina/resin

Ritratto di quello che non guarda (o almeno così sembra) / Portrait of Someone Who Doesn’t Look (or at least it seems that way) , 2014 Pannello/Panel - resina/resin

Donna con titolo/Woman with title, 2014 Pannello/Panel - resina/resin

Cane a sei zampe Eni rivisitato da Gaetano Pesce/Eni dog revised by Gaetano Pesce, 2014 Disegno/Drawing - stampa da file su carta/print on paper

Diversity chair, 2014 Modello, Model - resina e tessuto/resin and fabric

UP 5&6 gigante abitabile/Gigantic Inhabitable UP 5&6, 2014 Installazione/Installation blocchi di polistirolo/blocks of polystyrene

Stanza tempo/ghiaccio / Time/Ice Room, 2014 Installazione/Installation - struttura di cartongesso rivestito di polistirolo protetto da resina/gypsum board structure finished in resin protected polystyrene

Eni is partner of the exhibition "Gaetano Pesce. Il tempo della diversità" at MAXXI

Eni is partner of the exhibition "Gaetano Pesce. Il tempo della diversità" to be held at MAXXI, in , from 26 June to 5 October.

The National Museum of 21 st Century Arts will display projects and realizations by the Italian designer, architect and artist of international reputation, which will follow through from the ‘60s to nowdays. The exhibition includes a giant version of the UP5 chair and site-specific works purposely conceived for MAXXI.

Spreading and supporting culture is a "way" Eni operates in the company and recognises itself contributing to projects focused on a single word - innovation – common to the company’s practices.

Eni's objective is to promote art and culture through an exemplary collaboration between the public and private sectors. For Eni culture is a universal language able to communicate in any context and territory. Culture ahead anything is dialogue. An intelligent and critical dialogue whose capacity of capturing the interest is measured by the beneficial effects it produces upon society. With this belief Eni particularly supports events primarily centred on works of profound artistic value, offering the audience a unique interpretation.

Company Contacts:

Press Office : Tel. +39.0252031875 – +39.0659822030 Website: www.eni.com

http://cultura.eni.com

1 Major Partnerships in the Field of Visual Arts UNICREDIT We cooperate extensively with museums and other exhibition OUR GROUP’S COMMITMENT venues to promote the visual arts.

TO CULTURE . ARTISSIMA, International Contemporary Art Fair, Turin: Since 2003, UniCredit has been a main partner of this June 2014 important showcase for young international emerging artists. UniCredit and Culture . Castello di Rivoli, Turin: We have collaborated on numerous As a European leader in financial services, UniCredit has more pilot projects with the Education Department of this than 8,900 branches and 147,000 employees in 17 countries. contemporary art museum, uniquely located in the Our extensive presence in Western, Central and Eastern magnificent Savoy Residence in Rivoli. Europe, combined with our deep local roots, enables us to . MAMbo, the , Bologna: Recently leverage our Group’s identity while building strong staged the exhibit La Grande Magia from October 20, 2013 relationships with stakeholders. to February 16, 2014. UniCredit has supported Focus on Italian Contemporary Art, our program for commissioning UniCredit has a long tradition of honoring culture as a means works by Italian artists, which are then given as a long-term to promote social and economic growth, as well as to open free loan to MAMbo. dialogue on innovation. We seek to make cultural events . MACRO, Museum of Contemporary Art, Rome: With accessible to a wider public and support the education of UniCredit’s support, artist Daniel Buren created "Dance of younger generations. Together with our partners, we have Triangles and Lozenges for Three Colors," his first created valuable initiatives that combine our belief in culture, permanent installation in Rome at the MACRO. Our Group community and business, as well as our trust in the future. has also enriched the museum’s collection by providing various works on long-term loan from our corporate UniCredit has developed innovative partnerships with key collection. players in the cultural sector that involve joint management . MART, the Museum of Modern and Contemporary Art of of long-term projects. These efforts fall principally within the Trento and Rovereto: UniCredit has been a partner of the fields of visual arts, music and literature. UniCredit’s Group MART since 2004, with many pieces from our collection on Identity & Communications department recommends and long-term loan to the museum. coordinates activities that can contribute to the long-term . MAXXI, the National Museum of the XXI Century Arts, success of our cultural policies. Rome: Our collaboration with the MAXXI began many years ago with Committenze Contemporanee, a project primarily The UniCredit Art Collection consisting of long-term loans from our collection. Our collection is comprised of more than 60,000 works, . Museum der Moderne Rupertinum, Salzburg: The ranging from ancient artifacts to masterpieces by such great museum’s rich program of exhibitions includes a visionaries as Girolamo Savoldo, Dosso Dossi and Pietro permanent loan from Bank Austria’s photography Longhi. collection. . UniCredit Art Collection exhibitions: Since 2009, we have Also included are works by modern masters, such as Yves been sharing our corporate collection internationally Klein, Fernand Léger, Giorgio de Chirico, Kurt Schwitters, Oskar through traveling exhibitions. These have included Kokoschka and Gustav Klimt, as well as such prominent PastPresentFuture, shown in Vienna, Verona and Istanbul; contemporary artists as Christo, Georg Baselitz, Gerhard People and the City, shown in Moscow and Toruń; Things Richter, Andreas Gursky and Giulio Paolini. More than 4,000 are Queer, shown in Herford; and Un mondo nuovo, shown historical and contemporary photographs are also a part of at in at the new UniCredit Tower. Last but not least the collection. the exhibition La Grande Magia, in collaboration with MAMbo, from October 20, 2013 to February 16, 2014. Several works are on loan and featured in public exhibitions, . Linea d’ombra: Since 2011, UniCredit has supported Linea while others are showcased in our Group’s offices and d’ombra’s highly-visited exhibitions, including Van Gogh branches. A selection from the collection can be seen in the and Gauguin’s Journey in Genoa and From Botticelli and virtual museum on our Group's website. Raphael to Picasso to Matisse in Vicenza and Verona. Recently on show Towards Monet: A history of landscape from the 17th to 20th century, in Verona until February 9, 2014 and then in Vicenza until May 4, 2014. Exhibitions and Cultural Centers Editorial Projects and Awards UniCredit supports awards, publications and editorial projects . Bank Austria Kunstforum: Austria’s most prestigious connected to literature. exhibition space for traditional, modern and contemporary art in Vienna is visited by 300,000 people a year and . Bank Austria Literaris: The biggest competition of its kind in supported by Bank Austria. the region, the annual Literaris award, sponsored by Bank . Kunsthalle der Hypo-Kulturstiftung: UniCredit Bank AG Austria, is open to entries from all of the Central and founded and supports this state-of-the-art exhibition space Eastern European countries in which our Group operates. in Munich. Visited by more than 350,000 people a year, it . UniCredit Literary Debut Competition: Established by regularly features both ancient and modern art. UniCredit Ţiriac Bank in 2008, this contest provides a forum . Pavilion UniCredit: Opened in January 2009 within a former for the debut work of young authors. The competition’s branch of UniCredit Ţiriac Bank in Bucharest, the Pavilion panel of judges includes prestigious individuals from the UniCredit serves as an independent institution for the Romanian cultural scene. exhibition and exploration of visual and performing arts. . Skira: Our special relationship with Skira publishing house . Yapı Kredi Culture Center: UniCredit’s Turkish affiliate, Yapı led to the production of a five-volume series called Art of Kredi, supports this important exhibition center in Istanbul. the Twentieth Century. We also published History of Photography, a four-volume series that will conclude in Major Partnerships in the Field of Music 2013-14. We work with internationally renowned musical institutions, . Yapı Kredi Publications: As one of the largest and most including the Teatro alla Scala, the Filarmonica della Scala important publishing houses in Turkey, it gives voice to the and the Vienna Philharmonic, as well as academies that different cultures and views of artists and authors to create develop the talents of young musicians. unique literary experiences.

. Arena di Verona, Verona: UniCredit has been a main partner of the Arena’s Lyric Opera Festival since 1994 and promoted a significant number of its international performances. . Filarmonica ‘900 del Teatro Regio, Turin: Since this renowned orchestra’s founding in 2003, we have supported its mission to promote contemporary music and to create synergies between different artistic idioms. . Filarmonica della Scala, Milan: UniCredit has been a partner of this Milan-based orchestra since 2000, becoming its main partner in 2003. In addition to supporting the traditional concert season, we sponsor the Filarmonica’s international tours, as well as special projects dedicated to charity and music education. . Teatro dell’Opera, Rome: UniCredit is one of the Partners of this important theater. Its three concert halls, which include the fascinating Terme di Caracalla, stage prestigious operas, ballets and concerts. . Teatro alla Scala, Milan: Since 2009, UniCredit has been CONTACT Partner of selected international tours of Teatro alla Scala, a globally renowned symbol of Italian excellence. . Group Giving, Events & Art Management: . Vienna Philharmonic: This renowned institution receives [email protected] support through a long-term partnership with UniCredit . www.unicreditgroup.eu Bank Austria.