Archives for category: Exhibits

happy to be part of the Photography’s directory project 🙂

and to have the same picture as the cover my first exhibit that I’m shitless nervous about right now:)

Thank you Milanese roofs for the inspiration 🙂

More amo visuals

Screen shot 2013-10-16 at 00.35.13

Out with the world

Confessions by Candy Chang

Grazia Toderi

Grazia Toderi

There was something of a Fairy about her, and nothing is more Umbearable, judging by Fairy tales, than living with a Fairy… 1994

Grazia Toderi, Padova 1963

Picture displayed at Galleria d’Italia Museum, Milano

Untitled (T-shirt) by Mikko Kuorinki

Untitled (T-shirt) by Mikko Kuorinki

How can you open someone’s heart if the key is inside?

I love my friend Lara’s work. Not only her job but her vision to do it.

She’s the editor of the art section of designboom, and usually shares with me some of her favorite articles, I always enjoy them. It’s a cool experience to work with her on saturdays, each one doing her own things, filling our cloudy memories with artist’s messages.

I don’t share her articles because designboom is a bit picky with the copyright of the images haha, but I think her taste in art is wonderful, and what she admires is honesty, the willing of sharing the truth. So if you follow designboom, check the author 🙂

A lot of times, we reach the girly love conversations, and I think this project by Yoko Ono it’s a beautiful metaphor of our vision… because you don’t fall in love, you grow in love. To grow is a hard and a extremely brave process, but to find that magical seed… that’s even harder.

Screen shot 2013-01-31 at 22.44.07Screen shot 2013-01-31 at 22.44.28 Lara’s full article

41-s46-s

So many projects stayed in my mind from the architecture of the world Triennale exhibit. I saw these original drawings and an introduction to Ettore Sottssas utopian concept of the contemporary city, Planet as a festival. It was an instant attraction, beautiful composition, crazy drawings, colors and Sottsass.

For me, it was a different and interesting approach of the Non-stop city. Here are some interesting parts of this wonderful intro:

Production problems no longer exist. A few movements alone are sufficient, and the machines make everything by themselves in eternally repeating cycles.

‘Consumer goods’ automatically pile up in distributing points spread over the planet with a super abundance of basic goods and foodstuffs scattered at random.

The explosive decentralization of consumer good has pulverized our cities, has eliminated them from the face of the earth. They have been consumed by the jungle, by the silk cotton trees, by the desert. There are no longer men going to work because men are not needed in factories, and neither are there any temples of productivity and income any longer, since there is no directive to work. I mean no kind of directive, since one works only when one feels like it, since there is the super-possibility of communication.

In this way we have all become artisans-artists, furnished with super-instruments for doing what we feel like by ourselves. We are also nomad artists, we are free from the factory, the bureau, the supermarket, the ban, to find out everything and allows us to let everyone know everything about us without any static centralized power, We are our own representatives.

We are at appoint in which there are no more powers, but wandering fluxes of will and public passions, which are generated in some way, like the molecular movements and settlements of gases and liquids, like the sky settling with clouds coming and going

I thought there was nothing let for me to design or architecture to draw, solitary, not group artist that I am, child of an era worried about the future (…). Maybe one day others will design temporary or permanent buildings to scatter like popcorn over the planet along the ancient migratory routes… conserving memories provoking smiles, boredom, and eroticism…

I design these projects as if they have designed by someone else, someone far removed from the trajectory of thought concerned with the city, since I considered that thought concerned with the city has, up to now, only projected, up to now, wherever it comes from and wherever it goes to, the insane, the sick, dangerous and aggressive idea that men must live only to work and must work to produce and the consume. (…)

I know from Nanda, when she came to understand with compassion that freedom can only com from the possible knowledge that each of us is living and that very slowly dying too.

More about this project here http://socks-studio.com/2011/09/08/ettore-sottsass-jr-the-planet-as-a-festival/

DSC03575Poster by Divya Thakur, founder of Design Temple. Divya has been several times in Milan, presenting her multi-disciplinary work. This time, I saw some really interesting posters at the Designscape indian exhibit at Triennale. I like her contemporary vision  to give birth to her country’s new visual identity, standing between innovation and tradition. Lots call this movement  barefoot design.

Nimbus D'Aspremont, 2012

Nimbus D’Aspremont, 2012

Nimbus II, 2012

Nimbus II, 2012

Nimbus Minerva

Nimbus Minerva

A fog machine and an empty room are the tools Berndnaut Smilde needs to create a cloud in an indoor space.

More of his works http://www.berndnaut.nl/works.htm

How he does it http://www.bbc.co.uk/news/entertainment-arts-21034217

'Missing object', exhibit by Galerie Kreo, Paris

‘Missing object’, exhibit by Galerie Kreo, Paris

'Missing object', exhibit by Galerie Kreo, Paris

‘Missing object’, exhibit by Galerie Kreo, Paris

 

Untitled by Donal Judd, Tate Modern, London

Untitled by Donal Judd, Tate Modern, London

I had the chance to study Donald Judd’s work at the studio where I was working, so that was pretty recent. I saw one of his works at the Tate, which I find fascinating. My friend Luci in the picture : )

Text by the Tate on this sculpture, Untitled, done on 1985: From the 1960s onwards, Judd’s works were made in factories using common industrial materials. The colours in this work were chosen from an industrial colour chart, and enamel-baked on to aluminium sheets, which were then bolted into a precise arrangement determined by Judd.

 ‘I didn’t want them to combine’ he later wrote, ‘I wanted a multiplicity all at once’