You are currently browsing the tag archive for the ‘Triennale Design Museum’ tag.

Rick Owens, photo by N

It successfully follows, running through 25th March 2018Subhuman Inhuman Superhuman”, the exhibition featuring the work by Rick Owens, told by a catalogue by Electa (embodied in a special box in limited edition including also the unseen perfume he made, civet and grey amber scented). Twenty years are illustrated by memorabilia, catalogues, pictures, some were taken by Rick Castro – one of them features the father of photographer – fetishes, videos telling the artistic path by Owens along with garments and furniture.

Rick Owens, photo by N

The sulfur and timeless atmosphere, emphasized by the site-specific installation created by fashion designer, gives rise to a genuine Gesamkunstwerk, the idea of total work of art by Wagner where different channels of communication dialogue between themselves. The charming showcase depicts signes, ideas, suggestions, one of them reinterprets the performative experience by a legendary artist, Leigh Bowery, drawing a way beyond good and evil, a mystic synaesthesia where the beyond sanctifies human being in its instinctual rush and grotesque romanticism.

Rick Owens, photo by N

Storm and stress, the tension drama of individual, tender and feral, where passion, spiritual energy, reveals also as “friction between the soul and the outer world” (as yesterday the filmmaker Andrej Tarkovskji depicted at best in the masterpiece he made “Stalker”). A not to be missed happening which witnesses an essential chapter of yesterday and today conceptual fashion history.

 

MODA COME GESAMKUNTWERK: RICK OWENS AL MUSEO DELLA TRIENNALE DI MILANO (2)

 

Rick Owens, photo by N

Prosegue felicemente fino al 25 marzo 2018Subhuman Inhuman Superhuman”, la mostra che ha quale protagonista l’ opera di Rick Owens, raccontata da un catalogo di Electa (una special box in edizione limitata che contiene anche il suo profumo inedito allo zibetto e ambra grigia). Un ventennio illustrato da memorabilia, cataloghi, fotografie alcune di Rick Castro – una delle quali ritrae il padre del fotografo -, feticci, video che raccontano l’ iter artistico di Owens unitamente ad abiti e arredi.

 

Rick Owens, photo by N

L’ atmosfera sulfurea e senza tempo, enfatizzata dalla installazione site-specific creata dal fashion designer, dà vita ad un’ autentica Gesamkunstwerk, l’ opera d’ arte totale di wagneriana memoria in cui più canali di comunicazione dialogano tra di loro. L’ affascinante rassegna ritrae, segni, idee, suggestioni, una delle quali reinterpreta l’ esperienza performativa di un artista leggendario, Leigh Bowery, disegnando una via al di là del bene e del male, una mistica sinestesia in cui l’ oltre santifica l’ umano nel suo impeto pulsionale e grottesco romanticismo.

 

Rick Owens, photo by Rick Castro featuring his father, photo by N

Tempesta e impeto, il dramma tensivo dell’ individuo, tenero e ferino, in cui la passione, energia spirituale, si rivela anche quale “attrito tra l’ animo e il mondo esterno” (come ha magistralmente dipinto ieri su pellicola il regista Andrej Tarkowskji nel suo capolavoro “Stalker”). Un evento imperdibile che testimonia un imprescindibile capitolo della storia della moda concettuale di ieri e oggi.

 

Rick Owens, photo by N

 

Rick Owens, photo by N

 

Rick Owens, photo by N

 

Me, myself & I on a furniture by Rick Owens, photo by N

 

www.rickowens.eu

www.triennale.org

 

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

Transcendence, transformation, sartorialism, performative lyricism transfiguring matter into the sublime and talking about the art of making. That is the alchemy featuring in the new collection by DiLiborio, brand created by the genius fashion designer Liborio Capizzi (and presented in Milan during the fashion at the Triennale Design Museum). It’ s a continuous research under the sign of instinct and passion, a journey visiting the beyond, drawing a dark path peopled by apocalyptic suggestions. Industrial landscapes – emphasized by the video “A brief apocalypse” featuring Skin and Polly Fey – are enriched by storm and stress, a romantic choralism. The lightness of lace, silk, transforms and defines itself, becoming wonder, austere, morphing solemnity, pattern which is also impressed in the accessories (as the necklace becoming shades), successfully evidencing the excellence of contemporary made in Italy.

LA SARTORIALITÀ & TRASCENDENZA DI DILIBORIO

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

Trascendenza, trasformazione, sartorialità, lirismo performativo che trasfigura la materia nel sublime e parla dell’ arte del fare. Questa l’ alchimia protagonista della nuova collezione di DiLiborio, brand  creato dal geniale fashion designer Liborio Capizzi (e presentata a Milano durante la fashion week presso il Museo del Design della Triennale).Una ricerca continua all’ insegna di visceralità e passione,  un viaggio che visita l’ oltre, disegnando un sentiero oscuro popolato da suggestioni apocalittiche. Scenari industrial – enfatizzati dal video “A brief apocalypse” di cui è protagonista Skin e Polly Fey – si arricchiscono di tempesta e impeto, dando vita a una romantica coralità. La levità del pizzo, della seta si trasforma e definisce, diventando meraviglia, austera solennità mutante, motivo impresso anche negli accessori (quali la collana che diviene un occhiale), felice testimonianza dell’ eccellenza del made in Italy contemporaneo.

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N

DiLiborio Spring/Summer 2016, photo by N

 

The artist Polly Fey, wearing the Diliborio Spring/Summer 2016, photo by N

The artist Polly Fey, wearing an outfit from the Diliborio Spring/Summer 2016 collection, photo by N

 

Me, myself & I along with Liborio Capizzi, photo by Vincent Law

Me, myself & I along with Liborio Capizzi, photo by Vincent Law

 

Christian Correnti and Liborio Capizzi, photo by N

Christian Correnti and Liborio Capizzi, photo by N

 

Me, myself & I along with Angelo Cruciani, photo by N

Me, myself & I along with Angelo Cruciani, photo by N

 

Liborio Capizzi and Richard Lewis aka Cass from the band Skunk Anansie, photo by N

Liborio Capizzi and Richard Lewis aka Cass from the band Skunk Anansie, photo by N

 

Me, myself & I and Michele, photo by Vincent Law

Me, myself & I and Michele, photo by Vincent Law

 

Me, myself & I along with Liborio Capizzi, photo by N

Me, myself & I along with Liborio Capizzi, photo by N

 

http://diliborio.it

 

 

photo by N

photo by N

It follows my tale in reverse, made by words and images featuring “Art and food”, the exhibition curated by Germano Celantrunning through 1st November 2015 – recently opened at the Milan Triennale Design Museum. A lapse of time going mostly from Fifties to Eighties is told the exhibition’s path second section. A suggestive showcase which exhibits many objects, talking about the relationship between food and art, a theme explored through the photography by Henri Cartier-Bresson, Ugo Mulas, pop-art by Andy Warhol, Robert Rauschenberg, Mimmo Rotella, Roy Lichtenstein and other artists, enriched by the creations made by the fashion designer Ken Scott( though fashion is a delicate presence, just murmured into the exhibition, evidence of a culture eradicate in Italy which still considers fashion as a secondary discipline and gives the primacy to the visual arts), the commercials by Armando Testa (bright creative who made the commercial saga of Carmensita for the Paulista coffee by Lavazza ) and impressed also on music, embodied in the cover albums of celebrated bands as Rolling Stones.

L’ INAUGURAZIONE DELLA MOSTRA “ART & FOOD” AL MUSEO DEL DESIGN DELLA TRIENNALE DI MILANO(2)

Henri Cartier Bresson, Sunday on the sanks of the Seine river, 1938, Collection Henri Cartier- Bresson Foundation, photo by N

Henri Cartier Bresson, Sunday on the sanks of the Seine river, 1938, Collection Henri Cartier- Bresson Foundation, photo by N

Prosegue il mio racconto a ritroso, fatto di parole e immagini di cui è protagonista “Art and food”, la mostra curata Germano Celant – che prosegue fino all’ 1 novembre 2015 – recentemente inaugurata al Museo del Design della Triennale di Milano. Un lasso di tempo che va principalmente dagli anni Cinquanta agli anni Ottanta è raccontato dalla seconda sezione del percorso espositivo. Una suggestiva rassegna che espone plurimi oggetti che parlano della relazione tra cibo e arte, un tema esplorato attraverso la fotografia di Henri Cartier-Bresson, Ugo Mulas, la pop-art Andy Warhol, Robert Rauschenberg, Mimmo Rotella, Roy Lichtenstein, arricchita dalle creazioni del fashion designer Ken Scott(benché la moda sia una presenza delicata, appena sussurrata all’ interno della mostra, dimostrazione di una cultura da sradicare in Italia che ancora considera la moda come una disciplina secondaria rispetto alla primazia data alle arti visive), dalle pubblicità di Armando Testa (brillante creativo che ha realizzato la saga pubblicitaria di Carmensita per il caffè Paulista di Lavazza) e impressa anche nella musica, racchiusa negli album delle copertine di celebri band quali i Rolling Stones.

Nino Migliori, Bread delivery boy, 1956, Bologna, Nino Migliori archive, photo by N

Nino Migliori, Bread delivery boy, 1956, Bologna, Nino Migliori archive, photo by N

 

Robert Indiana. the electric eat, 1964, courtesy of Galerie Gmurzynska AG, photo by N

Robert Indiana. the electric eat, 1964, courtesy of Galerie Gmurzynska AG, photo by N

 

Ugo Mulas, photo by N

Ugo Mulas, photo by N

 

Ugo Mulas, The Warhol factory,  photo by N

Ugo Mulas, The Warhol factory, photo by N

 

Ugo Mulas, Andy Warhol at the Warhol factory,  photo by N

Ugo Mulas, Andy Warhol at the Warhol factory, photo by N

 

Andy Warhol, Campbell's soup| Portfolio, 1968, private collection, New York

Andy Warhol, Campbell’s soup| Portfolio, 1968, private collection, New York

 

Andy Warhol, Del Monte  peach halves, 1964, Mugrabi Collection, 1964, Kellog's corn flakes box, 1964,  courtesy of the Brant Foundation, Greenwich, photo by N

Andy Warhol, Del Monte peach halves, 1964, Mugrabi Collection, 1964, Kellog’s corn flakes box, 1964, courtesy of the Brant Foundation, Greenwich, photo by N

 

Robert Rauschenberg, Hungry weeds, 1969, Robert Rauschenberg Foundation, New York, photo by N

Robert Rauschenberg, Hungry weeds, 1969, Robert Rauschenberg Foundation, New York, photo by N

 

Commercial by Armando Testa, photo by N

Commercial by Armando Testa, photo by N

 

 

Roy Lichtenstein, Apple with black and blue blackground, 1982, the Roy Lichtenstein Foundation and courtesy of the Castell Gallery, New York, photo by N

Roy Lichtenstein, Apple with black and blue blackground, 1982, the Roy Lichtenstein Foundation and courtesy of the Castell Gallery, New York, photo by N

 

Roy Lichtenstein, Ceramic sculpture, 1965, private collection, Switzerland, photo by N

Roy Lichtenstein, Ceramic sculpture, 1965, private collection, Switzerland, photo by N

 

Carmensita and Caballero, the main features of commercials by Armando Testa for Paulista coffee by Lavazza, photo by N

Carmensita and Caballero, the main features of commercials by Armando Testa for Paulista coffee by Lavazza, photo by N

 

 

Another iconic persona still existing from food commercial Susanna, brand of cheese triangles by Kraft, photo by N

Another iconic persona still existing from food commercial Susanna, brand of cheese triangles by Kraft, photo by N

 

 

The cover albums by celebrated artists, photo by N

The cover albums by celebrated artists, photo by N

 

Andy Warhol, The last supper (Camel/57), 1986, Mugrabi collection, New York, photo by N

Andy Warhol, The last supper (Camel/57), 1986, Mugrabi collection, New York, photo by N

 

Mimmo Rotella, Point and a half, 1962, private collection, courtesy of Marconi Foundation, photo by N

Mimmo Rotella, Point and a half, 1962, private collection, courtesy of Marconi Foundation, photo by N

 

 

Mimmo Rotella, photo by N

Mimmo Rotella, photo by N

 

Ken Scott, Cereghino dress and cape, "Ken Scott cooks something new" Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

Ken Scott, Cereghino dress and cape, “Ken Scott cooks something new” Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

 

Ken Scott, Ruspante dress and cape, "Ken Scott cooks something new" Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

Ken Scott, Ruspante dress and cape, “Ken Scott cooks something new” Spring/Summer 1970, Piper club, January 1970, Ken Scott Foundation, Rome, photo by N

 

 Dieter Roth, Schokoladenplätzchenbild, 1969, Kem collection, Germany, photo by N


Dieter Roth, Schokoladenplätzchenbild, 1969, Kem collection, Germany, photo by N

 

Michelangelo Pistoletto, Bottle, 1963, Cittadellarte-Pistoletto Foundation, Biella, photo by N

Michelangelo Pistoletto, Bottle, 1963, Cittadellarte-Pistoletto Foundation, Biella, photo by N

 

Alain Jaquet, Dèjeuner sur l' herbe, 1964, Kem collection, Germany, photo by N

Alain Jaquet, Dèjeuner sur l’ herbe, 1964, Kem collection, Germany, photo by N

 

 

www.triennale.org

photo by N

photo by N

Art and food”, the exhibition curated by Germano Celantrunning through 1st November 2015 -, was recently opened at the Milan Triennale Design Museum, which is the only thematic area placed in the Milan city centre of event Expo Milan 2015. It was a smashing display of art exploring the relationship with food, emphasized by many references and an amazing selections of objects and furniture. I start talking about that in reverse, showing  many works being in third section of the exhibition which is placed on the first floor of museum, featuring celebrated contemporary artworks (paintings, sculptures, videos and installations). That is the part of exhibition I appreciated mostly for its lightness though the myriad of artworks that here were on show – among whom I was glad to see the works by Joel-Peter Witkin, Gregory Crewdson, an installation by the fashion designer Issey Miyake along with the ones made by other celebrated artists.

L’ INAUGURAZIONE DELLA MOSTRA “ART & FOOD” AL MUSEO DEL DESIGN DELLA TRIENNALE DI MILANO (1)

Jeff Koons, Cake, 1995-1997, private collection, photo by N

Jeff Koons, Cake, 1995-1997, private collection, photo by N

Art and food”, la mostra curata da Germano Celantche prosegue fino all’ 1 novembre 2015 -, è stata recentemente inaugurata presso il Museo del Design della Triennale di Milano, unica area tematica ubicata nel centro di Milano dell’ evento Expo Milano 2015. Una formidabile rassegna d’ arte che esplora la relazione con il cibo, enfatizzata da plurimi riferimenti e una incredibile selezione di oggetti e arredi. Ne comincio a parlare a ritroso, mostrando varie opere che si trovano nella terza sezione della mostra che è ubicata al primo piano del museo, di cui sono protagoniste vare opere d’ arte contemporanea (dipinti, sculture, collage, video e installazioni). Questa è la parte della mostra che ho apprezzato di più per la sua leggerezza nonostante la myriade delle opere d’ arte ivi esposte – tra cui mi ha rallegrato vedere le opere di Joel-Peter Witkin, Gregory Crewdson, un’ installazione del fashion designer Issey Miyake insieme a quelle di molti altri celebri artisti.

  Jeff Koons, bread with egg, 1995-1997, courtesy the artist and Jérôme de Noirmont, Paris


Jeff Koons, bread with egg, 1995-1997, courtesy the artist and Jérôme de Noirmont, Paris, photo by N

 

photo by N

photo by N

 

photo by N

photo by N

 

photo by N

photo by N

 

photo by N

photo by N

 

Tom Friedman, big big mac, 2013, courtesy of Luhring Augustine, New York and Stephen Friedman Gallery, London

Tom Friedman, big big mac, 2013, courtesy of Luhring Augustine, New York and Stephen Friedman Gallery, London

 

Inka Shonibare Mbe, Champagne kid(Fallen), B(w)anker (2), 2013, courtesy of the artist and Stephen Friedman Gallery London, photo by N

Inka Shonibare Mbe, Champagne kid(Fallen), B(w)anker (2), 2013, courtesy of the artist and Stephen Friedman Gallery London, photo by N

 

Wim Delvoye, Personal cloaca, 2006, courtesy of the artist

Wim Delvoye, Personal cloaca, 2006, courtesy of the artist

 

Nate Lowman, Blood orange is the new kale, 2013, courtesy of the artist

Nate Lowman, Blood orange is the new kale, 2013, courtesy of the artist

 

Elad Lassry, Kitchen, 2010, private collection, Milan, Eggs, 2010, Carlo Beldi Collection, Milan, Meat, Onion, 2010, Ringier Collection Switzerland, Short ribs, eggs, 2012, private collection, photo by N

Elad Lassry, Kitchen, 2010, private collection, Milan, Eggs, 2010, Carlo Beldi Collection, Milan, Meat, Onion, 2010, Ringier Collection Switzerland, Short ribs, eggs, 2012, private collection, photo by N

 

Mario Botta, La Petra Winery, Suvereto, 2003, Petra, Terra Moretti Group, photo by N

Mario Botta, La Petra Winery, Suvereto, 2003, Petra, Terra Moretti Group, photo by N

 

Gae Aulenti, Tenuta di Campo Sasso, Bibbona, 2003-2004, Gae Aulenti Archive,  photo by N

Gae Aulenti, Tenuta di Campo Sasso, Bibbona, 2003-2004, Gae Aulenti Archive, photo by N

 

Renzo Piano,  La Rocca Winery at Frassinello, Gavorrano, 2006, photo by N

Renzo Piano, La Rocca Winery at Frassinello, Gavorrano, 2006, photo by N

 

Richard Meier, Felida, 2012, courtesy Galerie Gmurzynska AG, photo by N

Richard Meier, Felida, 2012, courtesy Galerie Gmurzynska AG, photo by N

 

Igor Baskakov, Mars, 1999, courtesy Galerie Gmurzynska AG, photo by N

Igor Baskakov, Mars, 1999, courtesy Galerie Gmurzynska AG, photo by N

 

Igor Baskakov, Twix, 2001, courtesy Galerie Gmurzynska AG, photo by N

Igor Baskakov, Twix, 2001, courtesy Galerie Gmurzynska AG, photo by N

 

Jani Leinonen, Or Flakes: Slave or Slut, 2010, courtesy Galerie Gmurzynska AG, photo by N

Jani Leinonen, Or Flakes: Slave or Slut, 2010, courtesy Galerie Gmurzynska AG, photo by N

 

Nathalie Djurberg, man with the ice-cream, 2012, The Michael Storåkems Collection, photo by N

Nathalie Djurberg, man with the ice-cream, 2012, The Michael Storåkems Collection, photo by N

 

Nathalie Djurberg, bang your little drums, duration 10'42", music by Hans Berg, Giò Marconi, Milan

Nathalie Djurberg, bang your little drums, duration 10’42”, music by Hans Berg, Giò Marconi, Milan

 

Marc Quinn, Flesh painting( on sensualism), 2012, private collection, photo by N

Marc Quinn, Flesh painting( on sensualism), 2012, private collection, photo by N

 

Cai Guo-Qiang, Sunshine and solitude: poppy flowers, 2010, courtesy of the artist, photo by N

Cai Guo-Qiang, Sunshine and solitude: poppy flowers, 2010, courtesy of the artist, photo by N

 

Pleats please by Issey Miyake, photo by N

Pleats please by Issey Miyake, photo by N

 

Pleats please by Issey Miyake, phot by N

Pleats please by Issey Miyake, phot by N

 

Pleats please by Issey Miyake, phot by N

Pleats please by Issey Miyake, phot by N

 

Pleats please by Issey Miyake, phot by N

Pleats please by Issey Miyake, phot by N

 

Hassan Hajjaj, Ilham, 2000, courtesy of the artist and Taymour Grahne Gallery, New York

Hassan Hajjaj, Ilham, 2000, courtesy of the artist and Taymour Grahne Gallery, New York

 

Miles Aldridge, first impression 1, firts impression 2, 2006, courtesy Steven Kasher Gallery, New York, photo by N

Miles Aldridge, first impression 1, firts impression 2, 2006, courtesy Steven Kasher Gallery, New York, photo by N

 

Paul McCarthy, Bossy burger, 1991, video, duration 58' 59", photo by N

Paul McCarthy, Bossy burger, 1991, video, duration 58′ 59″, photo by N

 

Mona Hatoum, Deep throat, 1996, courtesy by the artist

Mona Hatoum, Deep throat, 1996, courtesy by the artist

 

Mona Hatoum, Deep throat, 1996, courtesy by the artist

Mona Hatoum, Deep throat, 1996, courtesy by the artist

 

Shen Wei, Bag from the series "Table setting", 2010, courtesy of the artist and Flowers Gallery, New York

Shen Wei, Bag from the series “Table setting”, 2010, courtesy of the artist and Flowers Gallery, New York

 

Thomas Demand, Stove, 2014, courtesy of the artist, VG Bild-Kunst, Bonn,  Sprüth Magers, photo by N

Dennis Oppheneim, Sleeping dogs, 1997, private collection, photo by N

 

Ron Mueck, Woman with shopping, 2013, Fondation Cartier pour l' art contemporain, Paris, photo by N

Ron Mueck, Woman with shopping, 2013, Fondation Cartier pour l’ art contemporain, Paris, photo by N

 

George Steinmetz, at the Nutribras pig farm in Brazil, 2nd September 2013, courtesy of the artist, photo by N

George Steinmetz, at the Nutribras pig farm in Brazil, 2nd September 2013, courtesy of the artist, photo by N

 

Barbara Kruger, untitled( God sends the meat and the devil cooks), 1988, collection famille Servais, photo by N

Barbara Kruger, untitled( God sends the meat and the devil cooks), 1988, collection famille Servais, photo by N

 

house of bread, photo by N

house of bread, photo by N

 

house of bread, photo by N

house of bread, photo by N

 

Vanessa Beecroft, VB 52.168.NT, 2003-2007, private collection, courtesy of Galleria Lia Rumma, Milano, Napoli, photo by N

Vanessa Beecroft, VB 52.168.NT, 2003-2007, private collection, courtesy of Galleria Lia Rumma, Milano, Napoli, photo by N

 

Frank O. Gehry, the gift fish, 1985, Castello di Rivoli Contemporary Art Museum, long term deposit Marco Rivetti Foundation, Rivoli-Turin, photo by N

Frank O. Gehry, the gift fish, 1985, Castello di Rivoli Contemporary Art Museum, long term deposit Marco Rivetti Foundation, Rivoli-Turin, photo by N

 

Andres Serrano, black supper, 1990, private collection, London, photo by N

Andres Serrano, black supper, 1990, private collection, London, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

Sophie Calle, The chromatic diet, 1998, courtesy of the artist and Paula Cooper gallery, New York, photo by N

 

Marina Abramovic, the onion, 1995, courtesy Marina Abramovic and Sean Kelly Gallery, New York, photo by N

Marina Abramovic, the onion, 1995, courtesy Marina Abramovic and Sean Kelly Gallery, New York, photo by N

 

Joann Verburg, still life with Jim, 1991, courtesy of the artist and Pace MacGill Gallery, New York, photo by N

Joann Verburg, still life with Jim, 1991, courtesy of the artist and Pace MacGill Gallery, New York, photo by N

 

Mimmo Jodice, Eden-opera n. 45, 48, 1995, courtesy of the artist, photo by N

Mimmo Jodice, Eden-opera n. 45, 48, 1995, courtesy of the artist, photo by N

 

Sally Mann, Yard eggs, 1991, courtesy of the artist and Gagosian Gallery New York, photo by N

Sally Mann, Yard eggs, 1991, courtesy of the artist and Gagosian Gallery New York, photo by N

 

Giovanni Gastel, Ricerca, 1991, courtesy Image Srl for Giovanni Gastel, photo by N

Giovanni Gastel, Ricerca, 1991, courtesy Image Srl for Giovanni Gastel, photo by N

 

Giovanni Gastel, Mondo uomo, 1985, courtesy Image Srl for Giovanni Gastel, photo by N

Giovanni Gastel, Mondo uomo, 1985, courtesy Image Srl for Giovanni Gastel, photo by N

 

Jannis Kounellis, Untitled, 2013, courtesy of the artist, photo by N

Jannis Kounellis, Untitled, 2013, courtesy of the artist, photo by N

 

Gregory Crewdson, Untitled (Sunday roast), 2005, courtesy of the artist and Gagosian Gallery, New York, photo by N

Gregory Crewdson, Untitled (Sunday roast), 2005, courtesy of the artist and Gagosian Gallery, New York, photo by N

 

Subodh Gupta, Ancestor cupboard, 2012, courtesy of the artist and Hauser & Wirth, London/Zurich, photo by N

Subodh Gupta, Ancestor cupboard, 2012, courtesy of the artist and Hauser & Wirth, London/Zurich, photo by N

 

Mario Merz, Igloo of bread, 1989, Mario Merz Collection, Turin

Mario Merz, Igloo of bread, 1989, Mario Merz Collection, Turin

 

Cindy Sherman, Untitled Metropolis, 1987-1991, Pierre Huber Collection, photo by N

Cindy Sherman, Untitled Metropolis, 1987-1991, Pierre Huber Collection, photo by N

 

Robert Mapplethorpe, Fish, Eggplant, Corn, Grapes, 1985, Robert Mapplethorpe Foundation, New York, photo by N

Robert Mapplethorpe, Fish, Eggplant, Corn, Grapes, 1985, Robert Mapplethorpe Foundation, New York, photo by N

 

Joel-Peter Witkin, Vanity, New Mexico, 1990, Witkin, Feast of fools, 1990, Still life, Marseille, 1992, Harvest, New Mexico, 1981, courtesy of the artist and Boudoin Lebon, photo by N

Joel-Peter Witkin, Vanity, New Mexico, 1990, Witkin, Feast of fools, 1990, Still life, Marseille, 1992, Harvest, New Mexico, 1981, courtesy of the artist and Boudoin Lebon, photo by N

 

Joel-Peter Witkin, Vanity, New Mexico, 1990,courtesy of the artist and Boudoin Lebon, photo by N

Joel-Peter Witkin, Vanity, New Mexico, 1990,courtesy of the artist and Boudoin Lebon, photo by N

 

Braco Dimitrijevic, Heralds of post history, 1997, courtesy of the artist, photo by N

Braco Dimitrijevic, Heralds of post history, 1997, courtesy of the artist, photo by N

 

 

www.triennale.org

Dhaer Bin Dhaer and me, photo by N

Dhaer Bin Dhaer and me, photo by N

Olfactive experiences and nice encounters featured in my day at Esxence, event focused on  artistic perfumery and its culture which was held in Milan at the Triennale Design Museum. Dhaer Bin Dhaer, nice and fun Dubai sultan who created the scent Tola, has been one of the first people I met. The scents he made were showcased along with many objects as a weird mask and the scarves that emphasized on their oriental charm and warm suggestions reminding the desert and made me think about the “Sheltering sky”, celebrated movie by Bernardo Bertolucci (and more specifically about a scene featuring John Malkovich and Amina Annabi and its moving soundtrack by Ryuichi Sakamoto). The packaging of perfumes is very catchy, including also a dropper, successful way to depict a gesture and a kind of fetishism connected to the scent which makes concrete also a smart marketing choice.

The weird masks by Tola, photo by N

The weird masks by Tola, photo by N

A playful, ironic and provocative, pop mood, connected to the olfactive libertinage shines in Etat Libre D’ Orange, French brand created by the brilliant Etienne De Swardt, including unusual fragrances as “Don’t get me wrong baby I don’t swallow”, “Charogne”(a scent I experienced a long ago, for a long time), “Secretions magnifiques”, the scent reinterpreting the scent of sperm, created by one of my favorite noses, Antoine Lie(who also made “Sulphur” by Nu-be), “Archives 69”, inspired by “Drencula”, erotic novel on vampires by Boris Vian, the first trans-scent “Afternoon of a faun”, created by the eclectic artist and beloved friend Justin Vivian Bond and last but not the least “Cologne”, a nice scent. This new perfume, which will be released on May, represents something being unexpected, considering the outrageous attitude of brand. Etienne told me “it was a way to break the rules and sometimes we break our own rules”. After the decadence now it shines the nice and its freshness embodied in this scent.

Etat Libre D' Orange, photo by N

Etat Libre D’ Orange, photo by N

 

Etat Libre d' Orange, photo by N

Etat Libre d’ Orange, photo by N

Nevertheless the freshness is the core of Eau d’ Italie,  Positano brand, producing a series of fragrances, created by Sebastian Alvarez Mureno, evoking the freshness of sea and Mediterranean visions. The combinations giving rise to its alchemies are many, some are enriched also of spicy, woody notes or red fruits as “Graine de Joie”, the new fragrance, but all the ones have in common the freshness. A refined freshness which makes this scent a passé-partout, appreciated by people who don’t like aggressive and intense smells, being all of these scents extremely delicate.

Eau d' Italie, photo by N

Eau d’ Italie, photo by N

 

Eau d' Italie, photo by N

Eau d’ Italie, photo by N

It was fun to see again the Australian milliner Naomi Goodsir featuring in Exsence as brand of fragrances as the caressing “Cuir Velours”, joining tobacco, rum, cistus labdanum, incense and fleur d’ immortelle and “Or dù Serail” which embodies tobacco along with ambery, woody and musky notes.

Naomi Goodsir parfums, photo by N

Naomi Goodsir parfums, photo by N

 

Naomi Goodsir and me, photo by N

Naomi Goodsir and me, photo by N

 

The pleasant interlude at the Triennale Design Museum ended with a Parisian brand being the parfume history, Caron.

Caron, photo by N

Caron, photo by N

 

 

INCONTRI & ESPERIENZE OLFATTIVE AD ESXENCE

Mustafa Sabbagh and Tola, photo by N

Mustafa Sabbagh and Tola, photo by N

Esperienze olfattive e simpatici incontri sono stati i protagonisti della mia giornata a Esxence, evento dedicato alla profumeria artistica, alla sua cultura che si è tenuto a Milano presso il Museo del Design della Triennale. Dhaer Bin Dhaer, il simpatico e buffo sultano di Dubai che ha creato il profumo Tola, è stato una delle prime persone che ho conosciuto. I suoi profumi erano esposti insieme a diversi oggetti quali una insolita maschera ed i foulard che enfatizzavano il loro fascino orientale e calde suggestioni che ricordavano il deserto e mi hanno fatto pensare a “Il tè nel deserto”, celebre film di Bernardo Bertolucci (più specificamente a una scena del film con John Malkovich e Amina Annabi ed anche alla struggente colonna sonora di Ryuichi Sakamoto). Il packaging dei profumi è molto accattivante, comprensivo anche di un contagocce, felice modo di ritrarre un gesto e una sorta di feticismo legato al profumo che concretizza anche una intelligente scelta di marketing.

Tola, photo by N

Tola, photo by N

 Un giocoso, ironico e provocante mood pop, legato al libertinaggio olfattivo splende in Etat Libre D’ Orange, brand francese creato dal brillante Etienne De Swardt che comprende insolite fragranze come “Don’t get me wrong baby I don’t swallow”, “Charogne”(profumo da me sperimentato tanto tempo fa, per lungo tempo), “Secretions magnifiques”, fragranza che reinterpreta l’ odore di sperma, creata da uno dei miei nasi preferiti, Antoine Lie (che ha anche realizzato “Zolfo”e altre fragranze di Nu-be), “Archives 69”, che si ispira a “Drencula”, racconto erotico sui vampiri di Boris Vian, il primo profumo trans “Afternoon of a faun”, creato dall’ eclettico artista e amico molto caro Justin Vivian Bond ed ultimo ma non meno importante “Cologne”, una fragranza carina. Questo nuovo profumo, che sarà distribuito a maggio, rappresenta qualcosa di inaspettato, considerando l’ attitudine provocatoria del marchio. Etienne mi diceva che: “era un modo per rompere le regole e talvolta abbattere le nostre stesse regole”. Dopo la decadenza adesso splende il carino e la sua freschezza, racchiusa in questo profumo.

Etat Libre D' Orange, photo by N

Etat Libre D’ Orange, photo by N

 

Etienne de Swardt and me, photo by N

Etienne de Swardt and me, photo by N

 

Ciònondimeno la freschezza è il cuore di Eau d’ Italie, brand di Positano, che produce una serie di fragranze create da Sebastian Alvarez Mureno che evocano il mare e visioni mediterranee. Le combinazioni che danno vita alle sue alchimie sono varie, alcune arricchite da note speziate, verdi o frutti rossi come “Graine de Joie”, la nuova fragranza, ma tutte hanno in comune la freschezza. Una raffinata freschezza che rende questi profumi un passé-partout, apprezzati da persone che non gradiscono odori aggressivi e intensi, essendo queste fragranze oltremodo delicate.

Eau d' Italie, photo by N

Eau d’ Italie, photo by N

 

Sebastian Alvarez Mureno, photo by N

Sebastian Alvarez Mureno, photo by N

 

É stato divertente rivedere la designer di cappelli Naomi Goodsir protagonista di Exsence nelle vesti di brand di profumi quali il carezzevole “Cuir Velours”, che unisce tabacco, rum, ciste labdano, incenso e fiori di luce e “Or dù Serail” che racchiude in sé tabacco unitamente a note ambrate, verdi e muschiate.

Naomi Goodsir, photo by N

Naomi Goodsir, photo by N

 

Naomi Goodsir, photo by N

Naomi Goodsir, photo by N

Il piacevole intermezzo al Museo della Triennale si è concluso con un marchio parigino che è la storia del profumo, Caron.

Caron, photo by N

Caron, photo by N

 

The journalist and Ermano Picco and me, photo by N

The journalist and Ermano Picco and me, photo by N

 

 

www.esxence.com

Mustafa Sabbagh, photo by N

Mustafa Sabbagh, photo by N

It featured during the latest edition of Esxence, event focused on the artistic perfumery which was held in Milan at the Triennale Design Museum, a smashing sensorial conversation about feelings, scents, art and design which was moderated by the journalist and expert Ermano Picco. Here the brilliant photographer Mustafa Sabbagh talked about the idea of fragrance he considered as scent. “The scent is ancestral and is connected to mind and belly”. Thus he said during this pleasant interlude where I appreciated his great genuineness, spontaneity and exhaustive synthesis. He also answered to the question regarding the eventual gender of smell, saying :“it’s something connected with the feeling, it’s not connected to the seeing which gives rise to a code of behaviour where the gender is a moralistic and classifying standard”. He also considered “Wodaabe- Herdsmen of the Sun” the documentary film by Werner Herzog on the Wodaabe tribe where the men, also by suffering, beautified them in order to be chosen as husbands by the women. Mustafa also talked about “the perfumery industry, which succeeded to take out the smell in order to feel, give emotions, is changing the cultural concept of perfume. The vibrant artist recently made “Come closer”, a suggestive video talking about the overwhelming experience of Nu-be, a series of scents depicting the Sadean primordial soup, a genuine lifestyle and telling about the violent action caught on film made to get Nu-be. Francesca Gotti, designer of Nu-be, considered this work as “a creative ménage a trois”, where Nu-be is in the center of a fight: “to break the case for entering into this experience”. The video ends with the image of a forest which – Francesca said – is an invitation to the voyage, to a new being as it asserts John Berger”. The sensual, sensorial perception of smell by Mustafa was enriched by other precious reflections. Big truths, consciousnesses: “I am in love with the skin, it’s a diary”; “I smell people”; “we can lie with smells, the one which wins is the truth of its own being”. These words come from the one who is “a nomadic mind and a free spirit”, a clever individual and a fine artist. Passion, passion and again passion is what shines in his work. The rarefied atmospheres he depicted talk about timeless stories under the sign the grotesque where the erotic, sensual element and the nudity is just means to subvert the conventional standards of ethic and aesthetics. “I love what makes me scared”. Thus Mustafa spoke, telling: “if you dream, you dream perfection, if you live, you love imperfection”. The conversation focused on other ideas concerning the smell, which is connected to memory and it is not necessarily connected to flowers. There are other scents that are powerful means able to evoke images and memories, as the smell of oil – as Mustafa said – or the one coming from the hospital. It was a successful happening to celebrate, discover and enjoy the olfactive design, art, sense and feelings.

MUSTAFA SABBAGH & NU-BE A ESXENCE: DIALOGHI OLFATTIVI TRA ARTE E DESIGN

Ermano Picco, photo by N

Ermano Picco, photo by N

È stata protagonista dell’ ultima edizione di Esxence, evento dedicato alla profumeria artistica che si è tenuto a Milano presso il Museo del Design della Triennale, una formidabile conversazione su sensazioni, odori, arte e design che è stata moderata dal giornalista ed esperto Ermano Picco. Ivi il brillante fotografo Mustafa Sabbagh ha parlato dell’ idea di profumo da lui presa in considerazione nelle vesti di odore. “Il profumo è ancestrale ed è legato alla mente e alla pancia”. Così ha detto durante questo piacevole interludio in cui ho apprezzato la sua grande genuinità, spontaneità ed esaustiva sintesi. Ha risposto anche al quesito inerente l’ eventuale gender dell’ odore affermando che:“è qualcosa collegato al sentire, non è connesso al vedere che dà vita a un codice comportamentale in cui il gender è uno standard moralistico e classificatorio”. Ha anche preso in considerazione “Wodaabe-I Pastori del Sole”, il film documentaristico di Werner Herzog sulla tribù Wodaabe in cui gli uomini, anche soffrendo, si abbelliscono per essere scelti dalle donne come mariti. Mustafa ha anche parlato dell’ “industria  dei profumi che ha il merito di tirar fuori gli odori per sentire, dare emozioni, sta cambiando il concetto culturale del profumo. Il vibrante artista ha recentemente realizzato “Come closer”, un suggestivo video che parla dell’ irresistibile esperienza di Nu-be, una serie di fragranze che dipingono il sadiano brodo primordiale, un autentico stile di vita e raccontano l’ azione violenta catturata su pellicola per avere Nu-be. Francesca Gotti, designer di Nu-be, ha considerato quest’ opera “un amplesso creativa a tre”, in cui Nu-be è nel mezzo di una lotta: “rompere il guscio per accedere a questa esperienza”. Il si conclude con l’ immagine di una foresta che – diceva Francesca – è un invito al viaggio, a un nuovo essere come afferma John Berger”. La percezione sensuale, sensoriale dell’ odore di Mustafa è stata arricchita da altre preziose riflessioni. Grandi verità, consapevolezze: “sono innamorato della pelle, è un diario”; “annuso la gente”; “non possiamo mentire con gli odori, chi vince è la verità del proprio essere”. Queste parole provengono da chi è un “nomade di testa e uno spirito libero”, individualità di fine ingegno e raffinato artista. Passione, passione e ancora passione è ciò che splende nel suo lavoro. Le atmosfere rarefatte da lui ritratte narrano storie senza tempo all’ insegna del grottesco in cui l’ elemento erotico, sensuale e la nudità sono soltanto mezzi per sovvertire i parametri convenzionali di etica ed estetica. “Amo ciò che mi fa paura”. Così ha detto Mustafa, sottolineando: “se sogni, sogni la perfezione, se vivi, ami l’ imperfezione”. La conversazione si è rivolta ad altri concetti inerenti l’ odore che è connesso al ricordo e non richiama necessariamente i fiori. Ci sono altri profumi che sono mezzi poderosi, capaci di evocare immagini e ricordi, come l’ odore della benzina – diceva Mustafa – o quello dell’ ospedale. Un felice happening per celebrare, scoprire e apprezzare il design olfattivo, l’ arte, il senso ed i sensi.

Francesca Gotti, photo by N

Francesca Gotti, photo by N

Me and Anna Porcu, photo by N

Me and Anna Porcu, photo by N

Antonio Gardoni, creator of  Bogue-Profumo (olfactive experience under the sign of  sartorialism I will tell about soon), photo by N

Antonio Gardoni, creator of Bogue-Profumo (olfactive experience under the sign of sartorialism I will tell about soon), photo by N

The jewelry designer Milena Altini and me, photo by N

The jewelry designer Milena Altini and me, photo by N

 

www.esxence.com

www.nubeperfume.com

The smashing artist Mustafa Sabbagh (celebrated are the rarefied atmosphere he depicted on photo, portraits reminding the marvelous lights and shades of Flemish paintings, baroque, expressionist, suggestions connected to the idea of grotesque (where sensuality is an emancipating and revolutionary energy )will feature on 20th March 2013 at 4:00 pm during Esxence, artistic perfumery event which will be held from 20th to 23rd March 2014 in Milan at the Triennale Design Museum, in the presentation “Conversation about the images” along with the journalist and expert Ermano Picco(lagardenianellocchiello.com). Intimistic stories, connected to the images of “Come Closer”, video by Mustafa embodying the olfactive experience arising from Nu-be, series of scents that are a lifestyle and an unique and overwhelming experience, overlap with memories, subvert the idea of scent connected to a flower or grass and evoke the concept of total work of art by Wagner. A not to be missed happening to join art and olfactive design.

IL DESIGN OLFATTIVO DI NUBE AD ESXENCE: UN’ ESPERIENZA E CONVERSAZIONE INTIMISTICA CON MUSTAFA SABBAGH & ERMANO PICCO

Mustafa Sabbagh, backstage photo from"Come Closer" by Mustafa Sabbagh

Mustafa Sabbagh, backstage photo from”Come Closer” by Mustafa Sabbagh

Il formidabile artista Mustafa Sabbagh (celebri sono le rarefatte atmosfere da lui ritratte su foto che ricordano le meravigliose luci e ombre dei dipinti fiamminghi, suggestioni barocche, espressioniste, connessi all’ idea del grottesco (in cui la sensualità è una energia emancipante e rivoluzionaria) sarà protagonista il 20marzo 2013 alle ore 16:00 durante Esxence, evento di profumeria artistica che si terrà dal 20 al 23marzo 2014 a Milano presso il Museo del Design della Triennale at the Triennale Design Museum, nella presentazione “Conversation about the images” unita,mente al giornalista ed esperto Ermano Picco(lagardenianellocchiello.com). Storie intimistiche, legate alle immagini di “Come Closer”, video di Mustafa che racchiude in sé l’ esperienza olfattiva che nasce da Nu-be, serie di fragranze che sono un lifestyle e un’ esperienza unica e irresistibile, si sovrappongono a ricordi, sovvertono l’ idea di profumo, connessa al fiore o la pianta ed evocano il concetto di opera d’ arte totale di Wagner. Un evento imperdibile per apprezzare l’ arte e il design olfattivo.

Lithium by Nu-be

Lithium by Nu-be

www.nubeperfume.com

www.esxence.com

Salvatore Ferragamo, photo by Marta Sarlo, Contrasto images

Salvatore Ferragamo, photo by Marta Sarlo, Contrasto images

It will be opened on 12th December 2012 in Milan at the Triennale Design Museum “Altagamma Italian Contemporary Excellence”, exhibition curated by Cristina Marozzi, running through 27th January 2013 and telling about the Italian manufacturing and design Italian excellence through the photos by Contrasto images, exhibition ideated by Altagamma Foundation, laudable institution gathering together the high-end companies that are famous at international level, focused on preserve and promotion of made in Italy abroad by many initiatives, searches and strategie, established by the bright businessman and politician Santo Versace, Reggio Calabria native – like me -, brother of genius Gianni Versace, with whom time ago, before the current changes of Italian political frame, I was pleased to talk about fashion, policy and young talents, a successful interlude embodied in the interview which follows:

 

What do you think about the chance of creating a new set of rules for increase a realm which makes cash as the fashion system?

“It doesn’t need a set of rules for fashion, the Country system must change. Policy in the way it has managed doesn’t works, as every company which would  managed by using the times and ways of policy would go bankrupt. Then policy failed. We have – editor’s note: we had it until some days ago – a government headed by Monti as policy failed. We must have a policy which doesn’t make the Country fail. And if policy would work well, but really well for the whole system, naturally it would work well also for the fashion system”.

Rubelli, photo by Lorenzo Pesce, Contrasto images

Rubelli, photo by Lorenzo Pesce, Contrasto images

Considering the little effective protection in the cases of fraudulent bankruptcy – made yesterday by textile companies, liable for crisis and decadence which involved many brands – wouldn’t be good to re-design a new, specific set of rules concerning that?

“We come back to what I told before, the Country system doesn’t work. The issue is to make the State work. If justice, industry, credit would work, everything would be better. The problem resulting from the conditions where Italy is that affect youth, but affect all of people, it’s the malfunctioning of policy. People works in policy just for getting rich instead of serving the state. We have to run away with everyone gets a political role is a servant, our servant, our salaried employee as the President of Republic and ministers, it’s people we pay for making their work at best. And that doesn’t happen. Thus it must be laid off these people”.

“That is the basic problem which lately reverberates in all of the fields, the economy which doesn’t increase, justice which doesn’t work, bureaucracy which destroys companies and has an enormous cost, young people who don’t find a work ( though it’s an issue being aside from: it’s not the issue there isn’t work, having Italy 4 millions of foreigner workers, the problem is we have taught young people to look for the employ, instead of work, the pay, possibly got without working, in the great majority of cases, then the real problem is a cultural one. Young people has be encouraged to be businessmen,masters of themselves. How many artisans do lack? We risk of losing made in Italy due to the lack of people who are able of hand working)”.

Kartell, photo by Massimo Siragusa,  Contrasto images

Kartell, photo by Massimo Siragusa, Contrasto images

Why it doesn’t create schools for re-launching the craftsmanship and professions that concern it?

“It’s a project launched by Altagamma which joins the re-launch of craftsmanship, is connected to the educational training in this realm or rather the re-launch of community colleges”.

What do you think about the young talents of contemporary Made in Italy?

“Italians have occupied the world, many of them head celebrated fashion houses as Riccardo Tisci at Givenchy and many others. I think the skill and talent helps to get space inside the market”.

Concerning the support of young talents, the experience arising from the British Fashion Council which concretely invests – in the realm of production, presentation and communication – in young talents can be made also in Italy?

“ The British belief system is quite different as it invest also on the start-up. There is true freedom of working in that state, instead it has abolished in Italy the right to work. We trust on this government – editor’s note: which there isn’t at yet – for crumbling the lobbies and liberalizing market, considering the company cost of a company in Italy for granting a monthly net pay which amounts to 1236 Euros, is 2,3/ 2,4 times more than the net amount got by a workman. That is inadmissible. A worker in UK gets the 85% of what a company pays, then the salaries are indeed high they are double, instead the gross salaries in Italy are highest and the net salaries become low. In fact the company costs in Italy are the most high of Europe and it’s due to that the salary of worker becomes lower. The company pays too much, very much. Why does it happen? Because we maintain many people – politicians, trade unionists – who don’t produce or rather if they produce, they produce just negativity, there are too many wastes. There are people who work as public employees, getting very high salaries and monthly retirement funds that amount to 40000 Euros”.

Driade, photo by Nicolò de Giorgis, Contrasto images

Driade, photo by Nicolò de Giorgis, Contrasto images

What are the projects for your future?

“I am still too young to think about my future. I feel myself younger than many other people, instead of other young people who seems like they are born to be old.

I accepted to  work again in the realm of policy after 40 years to help the State and think about young people. I am very happy for what happened,  as I left and I fought for pensioning off Berlusconi and I succeeded to do that. Nevertheless we have today – editor’s note: we had it until some day ago. Future is uncertain – a government which is working quite better and represents us very well. Monti is a politician, he has been European Commissioner for 10 years. The Financial Times says today (which was yesterday as today the French newspaper  Libération talks about “the return of mummy”) Italy has the best premier of the world. We passed from rags to riches.

The newspaper Libération

The newspaper Libération

My purpose is making modern Italy. If the policy would take care of fashion, we would be the first country in the world as fashion is culture, innovation, creativity, quality and is the triumph of meritocracy, as you can work in the fashion world just only if you love working and you deserve of working in this realm. Instead policy it’s the contrary, it’s political patronage, nepotism, corruption, trollopy. Policy is slow, is stereotyped.

What  the Country system should do for helping the fashion, design world? It should reduce the fiscal pressure. If it would be made a tax law which would reduce the fiscal costs for exportations, many foreigner companies would be provided incentives, by paying less taxes, to invest in Italy and thus creating work in Italy. This is a device to make concrete. We abolished the life marriage, life imprisonment, do we want giving the chance to the employer of divorcing from the employee who doesn’t’ fits good? Let’s set up a set of rules and let’s give him the leave to do that. Concerning me, I stand up for divorce”.

“ALTAGAMMA ITALIAN CONTEMPORARY EXCELLENCE” AL MUSEO DEL DESIGN DELLA  TRIENNALE DI MILANO

Santo Versace, photo by N

Santo Versace, photo by N

Sarà inaugurata il 12 dicembre 2012 a Milano press il Museo del Design della Triennale “Altagamma Italian Contemporary Excellence”, mostra curata da Cristina Marozzi che prosegue fino al 27 gennaio 2013 e racconta l’ eccellenza italiana manifatturiera e progettuale attraverso le fotografie dell’ agenzia Contrasto, ideata dalla Fondazione Altagamma, lodevole istituzione che riunisce le aziende italiane di alto livello che sono famose a livello internazionale, dedita alla tutela e promozione del made in Italy all’ estero mediante plurime iniziative, ricerche e strategie, fondata dal brillante imprenditore e politico Santo Versace, natio – come me – di Reggio Calabria, fratello del genio Gianni Versace, con il quale tempo fa, prima degli attuali mutamenti del quadro politico italiano, sono stata molto lieta di parlare di moda, politica e giovani talenti, un felice interludio racchiuso nell’ intervista che segue.

Che ne pensi dell’ eventualità di creare di una normativa di indirizzo per potenziare un settore che fa cassa quale il sistema della moda?

“Non ci vuole una normativa per la moda, il sistema paese deve cambiare. La politica così come viene gestita non va bene, perché qualunque azienda che fosse gestita con i tempi e modi della politica fallirebbe. Quindi la politica è fallita. Abbiamo un governo Monti – ndr: lo avevamo fino a giorni fa – perché la politica è fallita. Dobbiamo avere una politica che non faccia fallire il paese. E se la politica lavorasse bene, ma bene per tutto il sistema chiaramente lavorerebbe bene anche per la moda”.

Emilio Pucci, photo by Alex Majoli, Contrasto images

Emilio Pucci, photo by Alex Majoli, Contrasto images

Considerando la poco efficace tutela nei casi di bancarotta fraudolenta – effettuata ieri da gruppi tessili, responsabili della crisi e decadenza di plurimi brand – non sarebbe opportuno ridisegnare un nuovo assetto normativo specifico?

“Ritorniamo al discorso di prima, il sistema Paese non funziona. Il problema è far funzionare il sistema Paese. Se la giustizia funzionasse, se l’ industria funzionasse, se il credito funzionasse, tutto andrebbe meglio. Il problema delle condizioni in cui si trova l’ Italia che riguardano i giovani, ma riguardano tutti è il malfunzionamento della politica. La gente fa politica per arricchirsi e non per servire il paese. Dobbiamo metterci in testa che chiunque abbia un incarico politico è un servitore, un nostro servo, un nostro stipendiato come il Presidente della Repubblica ed i ministri, è gente che paghiamo perché faccia bene il proprio lavoro. E così non avviene. Perciò questa gente va mandata a casa.

Questo è il problema di base che poi si riverbera su tutti i settori, sull’ economia che non cresce, sulla giustizia che non funziona, sulla burocrazia che rovina le aziende e ha un costo straordinario, sui giovani che non trovano lavoro (anche se questo è un argomento a parte: non è che il lavoro non ci sia, avendo l’ Italia 4 milioni di lavoratori stranieri, il problema è che abbiamo insegnato ai giovani a cercare il posto, non il lavoro, lo stipendio possibilmente senza lavorare almeno alla grande maggioranza, quindi il vero problema è culturale. I giovani devono essere stimolati a essere imprenditori, padroni di sé stessi. Quanti artigiani mancano? Rischiamo di perdere il made in Italy per mancanza di gente che sappia lavorare con le mani)”.

Buccellati, photo by Paolo Pellegrin, Contrasto images

Buccellati, photo by Paolo Pellegrin, Contrasto images

Perché non si creano scuole per rilanciare l’ artigianato e le professioni a essa inerenti?

“E’ un progetto lanciato da Altagamma che unisce il rilancio dell’ artigianato, connesso alla formazione di settore ovvero il rilancio degli istituti professionali”.

Che ne pensi dei giovani talenti del made in Italy contemporaneo?

“Gli italiani hanno occupato il mondo, molti di loro sono alla guida di storiche maison quali Riccardo Tisci da Givenchy e molti altri. Penso che la bravura e il talento aiutino di per sé a conquistare spazio sul mercato”.

Quanto alla promozione dei giovani talenti, l’ esperienza del British Fashion Council che investe concretamente – in produzione, presentazione, comunicazione – nel giovani creativi può essere realizzata anche in Italia?

“Il credo anglosassone è diverso perché investe anche sulle start.-up. In quel Paese c’è vera libertà di lavorare, in Italia invece il diritto al lavoro è stato abolito. Confidiamo in questo governo che consenta di sgretolare le lobbies e liberalizzi il mercato, considerando che in Italia per avere uno stipendio mensile netto pari a 1236 Euro, il costo per l’ azienda è 2,3/ 2,4 volte di più di quello che prende un operaio al netto. Ciò è inammissibile. In Inghilterra il lavoratore ottiene l’ 85% di ciò che un’ azienda spende in questo modo gli stipendi sono effettivamente alti, sono il doppio, mentre in Italia gli stipendi lordi sono altissimi ed è al netto che diventano bassi. Infatti in Italia il costo d’azienda è il più alto di Europa ed è per questo che al netto lo stipendio del lavoratore diventa più basso. L’ impresa spende troppo, tantissimo. Perché? Perché manteniamo tanta gente – politici, sindacalisti – che non produce o meglio se produce, produce negatività, ci sono troppi sprechi. C’è gente che nelle vesti di dipendente pubblico riceve stipendi altissimi e percepisce una pensione di 40000 Euro mensili”.

Ermenegildo Zegna, photo by Paolo Pellegrin

Ermenegildo Zegna, photo by Paolo Pellegrin, Contrasto images

Quali sono i progetti per il tuo futuro?

“Sono ancora troppo giovane per fare progetti per il futuro. Mi sento più giovane di molti altri, diversamente da altri giovani che sembrano nati vecchi.

Ho accettato di tornare in politica dopo 40 anni per dare una mano al paese e pensare ai giovani. Sono molto felice di ciò che è accaduto, poiché sono uscito e mi sono battuto per pensionare Berlusconi e ci sono riuscito. Peraltro oggi abbiamo – ndr: avevamo fino a qualche giorno fa. Il futuro è incerto – un governo che sta lavorando molto meglio e ci rappresenta molto bene. Monti è un politico, è stato Commissario europeo per 10 anni. Oggi (che era ieri poichè oggi il quotidiano francese Libération parla del “ritorno della mummia”) il Financial Times scrive che l’ Italia ha il miglior premier del mondo. Siamo passati dalle stalle alle stelle.

Il mio obiettivo è fare in modo che l’ Italia diventi moderna. Se la politica curasse la moda saremmo il primo paese al mondo perché la moda è cultura, innovazione, creatività qualità ed è il trionfo della meritocrazia, poiché puoi lavorare nel mondo della moda solo se ami il lavoro e se meriti di lavorare in questo ambito. La politica è invece il contrario, è clientelismo, nepotismo, corruzione, malaffare. La politica è lenta, è stereotipata.

 Cosa dovrebbe fare il sistema paese per aiutare il mondo della moda, del design? Ridurre la pressione fiscale. Se si adottasse una normativa fiscale che abbassasse i costi fiscali per le esportazioni molte aziende estere sarebbero incentivate, pagando meno tasse, a investire in Italia e quindi creare posti di lavoro in Italia. Questo è un meccanismo da realizzare. In Italia abbiamo abolito il matrimonio a vita, il carcere a vita, vogliamo permettere anche al datore di lavoro di divorziare dal lavoratore che non gli va più bene? Stabiliamo le regole e diamo a lui il permesso di realizzare ciò. Quanto a me sono favorevole al divorzio”.

www.altagamma.it

www.triennaledesignmuseum.it

The installation by Nigel Coates

The installation by Nigel Coates, photo by John Maybury

The work by Nigel Coates, renowned British architect, author, professor and lighting, furniture designer – who teamed with brands as Alessi, AVMazzega, Ceramica Bardelli, Frag, Fratelli Boffi, Poltronova, Slamp and Varaschin -, a suggestive installation about whose  Q.Connections of Sabrina Querci as his press officer told me,  will feature in the exhibition “Kama, Sex & Design” of whose press conference will be held on 4th December 2012, at 11:30 am, in Milan at the Triennale Design Museum. The exhibitioncurated by Silvana Annachiarico – which will be held from 5th December 2012 to 10th March 2013 of whose title evokes the Indian god of sexual pleasure, carnal love and desire, explores the relationship between Eros and design. Here it will be showcased over 200 items, archeological finds, drawings, photos, works by celebrated artists and designers as – Piero Fornasetti, the genius Carlo Mollino, Ettore Sottass , the Mae West lips sofa by Salvador Dalì, Great wall of Vagina by Jamie McCartney and the works by Andrea Branzi Nacho Carbonell, Matali Crasset, Lapo Lani, Nendo, Italo Rota, Betony Vernon and – Nigel Coates who continues successfully exploring the communicative and experiencial potential of architecture as a language drawn for the commonplace, working on the association between the built environment and desire. A not to be missed happening to discover and enjoy the paths of desire and creativity.

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L’ ARCHITETTURA DEL DESIDERIO DI NIGEL COATES AL MUSEO DEL DESIGN DELLA TRIENNALE DI MILANO PER “KAMA, SESSO & DESIGN”

Installation by Nigel Coates

Installation by Nigel Coates, photo by John Maybury

L’ opera di Nigel Coates, rinomato architetto, scrittore, docente e  designer di lampade e arredi inglese – che ha collaborato con brand quali Alessi, AVMazzega, Ceramica Bardelli, Frag, Fratelli Boffi, Poltronova, Slamp e Varaschin -, una suggestiva installazione, di cui mi ha detto recentemente  Q.Connnections di Sabrina Querci nelle vesti di suo ufficio stampa, sarà protagonista della mostra “Kama, Sesso & Design” la cui conferenza stampa si terrà il 4 dicembre 2012, alle ore 11:30, a Milano presso il Museo del Design della Triennale. La mostracurata da Silvana Annachiarico – che si terrà dal 5 dicembre 2012 al 10 marzo 2013 il cui titolo evoca la divinità indiana del piacere sessuale, l’ amore carnale e il desiderio, esplora la relazione tra eros e design. Ivi saranno esposti più di 200 oggetti, reperti archeologici, disegni, fotografie, opere di celebri artisti e designers quali – Piero Fornasetti, il geniale Carlo Mollino, Ettore Sottass, il divano-labbra di Mae West di Salvador Dalì, il Great wall of Vagina di Jamie McCartney e le opere di Andrea Branzi Nacho Carbonell, Matali Crasset, Lapo Lani, Nendo, Italo Rota, Betony Vernon e – Nigel Coates che continua ad esplorare felicemente il potenziale comunicativo ed esperienziale dell’ architettura quale linguaggio disegnato per il luogo comune, lavorando sulla associazione tra l’ ambiente costruito e il desiderio. Un evento imperdibile per scoprire e apprezzare i sentieri del desiderio e della creatività.

Nigel Coates

Nigel Coates, photo by Sophie Laslett

www.nigelcoates.com

www.triennaledesignmuseum.com

 

It has recently opened the exhibition “Dracula and the myth of vampiresin Milan at the Triennale Design Museum running until  24th March 2013 and paying homage to the vampire and its most celebrated persona, Dracula, the Count Vlad – who really existed -, depicted yesterday by Bram Stoker and celebrated later by film and famous filmmakers as Murnau, Herzog, Dreyer, Coppola of whose works feature in the exhibition. Fashion, illustrations, costume, art, literature, film and design tells about the myth of vampires (suggestions embodied in the catalogue of exhibition including a bright essay by Cesare Cunaccia): an overview on the vampiresque male elegance made in collaboration with L’ Uomo Vogue catches on photograph the collections created by renowned fashion designers as John Galliano, Roberto Cavalli, Prada, Alexander McQueen, Alexis Mabille and many others. It is also included the illustrations made by the Guido Crepax in late Eighties telling about Dracula, depicting the blood tasting encounter between the sensual heroine he created, Valentina and Dracula. The exhibition also explores the aesthetics of vamp, the female vampire through costumes by Cecilia De Paolis, Danilo Donati, Mauro Pagani, Santuzza Cali, Sylvano Bussotti, the original Afghans burqua owned by the Rome Sartoria Farani and the Dracula’s armor designed by Ishioka Eiko for the film by Francis Ford Coppola which has documented by video installation as well as its original screenplay and story-boards. The refined creativity by Italo Rota gives rise to a catchy installation evoking the proper interiors for a vampire. The exhibition follows with the showcase of books as The Vampyr by John William Polidori, Carmilla by Joseph Sheridan Le Fanu, Dracula by Bram Stoker featuring this charming creature and ends with “Against the common good”, the painting by Francisco José de Goya y Lucientes, two portraits of Vlad the Impaler, posters of shows about the vampire, Ottoman masks, armors, leather plats, bows and swords. An enchanting journey between reality and fantasy under the eternal romanticism of vampire.

LA MOSTRA“DRACULA E IL MITO DEI VAMPIRI” AL MUSEO DEL DESIGN DELLA TRIENNALE DI MILANO 

È stata recentemente inaugurata la mostra “Dracula e il mito dei vampiria Milano presso il Museo del Design della Triennale che prosegue fino al 24 marzo 2013 e rende omaggio al vampiro ed il suo più celebre personaggio, Dracula, il Conte Vlad – esistito nella realtà – raffigurato ieri da Bram Stoker e successivamente celebrato dal cinema e famosi registi quali Murnau, Herzog, Dreyer, Coppola le cui opere sono protagoniste della mostra. Moda, illustrazioni, costume, arte, letteratura, cinema e design raccontano il mito dei vampiri (suggestioni racchiuse nel catalogo della mostra che includono un brillante saggio di Cesare Cunaccia): una rassegna sulla vampiresca eleganza maschile realizzata in collaborazione con L’ Uomo Vogue immortala le collezioni create da rinomati fashion designers quali John Galliano, Roberto Cavalli, Prada, Alexander McQueen, Alexis Mabille e molti altri. Sono anche incluse le illustrazioni realizzate nella fine degli anni Ottanta da Guido Crepax su Dracula che narrano di Dracula e dipingono l’ incontro al sapore di sangue tra la sensuale eroina da lui creata, Valentina e Dracula. La mostra esplora anche l’ estetica della vamp, la donna vampiro, attraverso i costumi di Cecilia De Paolis, Danilo Donati, Mauro Pagani, Santuzza Cali, Sylvano Bussotti, i burqua afgani di proprietà della Sartoria Farani di Roma e l’ armatura di Dracula disegnata da Ishioka Eiko per il film di film Francis Ford Coppola, documentato da una video installazione come anche dagli originali della sceneggiatura e delle story-boards. La raffinata creatività di Italo Rota arricchisce la mostra dando vita a una accattivante installazione che evoca gli interni appropriati per un vampiro. La mostra prosegue con l’ esposizione di libri quali Il Vampiro di John William Polidori, Carmilla di Joseph Sheridan Le Fanu, Dracula di Bram Stoker di cui é protagonista questa affascinante creatura e si conclude con “Contro il bene comune”, il dipinto di Francisco José de Goya y Lucientes, due ritratti di Vlad l’ Impalatore, locandine di piéces sul vampiro, maschere ottomane, armature, piatti di pelle, archi e spade. Un incantevole viaggio tra realtà e fantasia all’ insegna del romanticismo del vampiro.

Valentina by Guido Crepax

Sartoria Farani

Costumes by the Rome Sartoria Farani

Costume for the Turandot opera by Sylvano Bussotti

Costume by Santuzza Cali

Costume by Danilo Donati

Costume by Cecilia De Paolis

Dracula’s armor by Ishioka Eiko from the movie Bram Stoker’s Dracula by Francis Ford Coppola

The screenplay of Bram Stoker’s Dracula by Francis Ford Coppola

The storyboard of Bram Stoker’s Dracula by Francis Ford Coppola

Installation by Italo Rota

Installation by Italo Rota

The book Dracula by Bram Stoker

“Against the common good” by Francisco José de Goya y Lucientes

Carmilla by Joseph Sheridan Le Fanu

The vampyr by John William Polidori

Ottoman armor

The Count Vlad Tepes the Impaler

The Count Vlad Tepes the Impaler

Valentina by Guido Crepax

Valentina and Dracula by Guido Crepax

Dracula by Guido Crepax

www.triennaledesignmuseum.it