Richard Meier exhibition and installation at Fondazione Bisazza

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

Light designer Arnout Meijer has joined the roster of Victor Hunt Designart Dealer, a Brussels-based design gallery. Meijer is known for his innovative approach to light, which he treats as a sculptural medium rather than merely a source of illumination. His work explores the interplay between light, perception, and the viewer's position in space. The exhibition, titled 'One Point Perspective,' showcases eight new light sculptures, including floor lamps and wall-hanging pieces, all minimally presented as bare panels of glass. Meijer's creations are characterized by their simple geometric constructions, featuring arrangements of LED points. The patterns produced by these LEDs are dynamic, shifting and distorting as observers move around them. This optical phenomenon is central to his artistic vision, where the LED points serve not only as light sources but also as elements that define and depict intangible objects on the optical surface of the sculptures. The exhibition's title, 'One Point Perspective,' underscores this focus on how perspective influences the perception of his light installations. His ongoing research delves into the relationship between reality and illusion, often challenging conventional notions of sight. Meijer believes that optical illusions are not mere deceptions but fundamental aspects that shape human visual perception. By manipulating light and perspective, he aims to reveal the inherent subjectivity of vision and how our spatial relationship to an object can dramatically alter its perceived form and depth. The bare environment of the exhibition space is intentionally designed to enhance the impact of these illuminated patterns, allowing the viewer to fully immerse themselves in the transformative qualities of each piece. The collection represents an evolution of Meijer's continuous exploration into how light can be sculpted and how human perception interacts with these luminous forms. His designs encourage viewers to engage actively with the artworks, experiencing the profound changes in geometric patterns and depth as they shift their vantage point. Each lamp essentially encapsulates a shape of light that is fluid and dependent on the viewer's position, transforming from a clear geometrical pattern when viewed head-on to a distorted, depth-accelerated form when seen from an angle. This nuanced approach to light design offers a fresh perspective on how art can manipulate our visual understanding of space and form. #ArnoutMeijer #VictorHuntDesignartDealer #LightSculptures #LightingDesign #OpticalIllusion #PerceptionArt #ContemporaryDesign #Exhibition #BrusselsDesign

The article explores Qatari-American artist Sophia Al-Maria’s video installation, \"Gravity & Grace,\" which served as the backdrop for Miu Miu’s S/S 2024 collection during Paris Fashion Week. The artist drew inspiration from the Palais d'Iéna, a classical brutalist building by Auguste Perret, which has been Miu Miu’s show venue for several years. Al-Maria aimed to transform the rationalist structure into a surreal, multi-dimensional space, enhancing the audience's viewing experience of the show. Al-Maria's involvement with Miu Miu began after her work, \"The Future Was Desert,\" was exhibited at Fondazione Prada’s Venice outpost in 2023. This film explored themes of environmental devastation, fossil-fuel dependency, and geopolitical complexities within the Gulf Region, featuring 'delirious, post-apocalyptic dreamscapes.' This previous work established a shared interest with Mrs. Prada in human history and deep time, questioning what is real versus what is not. This connection led to her current collaboration, aiming to reflect this shared sensibility in the S/S 2024 show's visual narrative. Her latest film, \"Gravity & Grace,\" is conceptualized as an old fairytale with a new twist, depicting the 'ending of the world' through the dynamic interplay of a court jester and a royal guard. Both roles are played by stuntwoman Ayesha Hussain, who engages in a sword and crossbow battle over conflicting perspectives on whether life is a tragedy or a comedy. The film’s soundtrack features an original piece by the Melbourne-based band Divide and Dissolve, with arrangements by Asma Maaroof, Daniel Pineda, and Joshua Fay, which complements the surreal and dramatic atmosphere of the visual art. The installation, displayed on screens interspersed among the Palais’ columns, featured a moody, cloud-filled sky before the show, transitioning to images of a samurai sword-wielding protagonist and futuristic versions of the building's pillars during the show. The accompanying notes characterized the film’s setting as \"a landscape of technological ruins, an imaginary history invented inside the Palais d’Iéna.\" This description aligns with Al-Maria’s intent to create a surreal extension of the classical brutalist architecture, blurring the lines between reality and imagination. Despite not having seen the full collection prior to creating the film, Al-Maria noted a \"serendipitous symmetry\" between her work and Mrs. Prada’s S/S 2024 collection. The collection itself explored an \"explosion, redressing\" of contemporary notions of beauty, seeking a \"radical expansion, a rich plurality.\" It combined glamour with everyday elements, such as a golden brocade dress over a sweater and shirt, or a lace petticoat with a blazer, alongside Miu Miu’s signature abbreviated mini skirts and exposed logoed waistbands. Al-Maria noted that the collection felt like an embodiment of a sensation she had felt in the air around the present moment, aligning with her film's themes of questioning reality and embracing the surreal in the quotidian. #SophiaAlMaria #MiuMiu #ParisFashionWeek #VideoInstallation #ArtAndFashion #SetDesign #ContemporaryArt #Prada

Richard Serra's New York City exhibition, showcased at two Gagosian Gallery locations downtown, continues his exploration of oversized forged and rusted steel to create powerful, Pharaonic forms. The article focuses on key installations, highlighting their physical presence and the viewer's interaction with the artworks. At the gallery's 21st Street location, the centerpiece is 'NJ-1,' a walk-through installation from 2015. This piece consists of enormous four-meter rusted sheets of weatherproof steel, forming two semi-attached oblongs. These structures evoke the image of an industrial tanker or a ship run aground, consistent with Serra's recurring motifs. Visitors navigating this cathedral-like space experience a sense of dislocation, akin to exploring a forbidden relic of massive scale. The design of 'NJ-1' actively compels viewers to re-evaluate their relationship with the artwork, emphasizing an immersive and interactive experience rather than passive observation. The 24th Street Gagosian location hosts a different array of Serra's work, including three solid steel slab installations—'Above Below Betwixt Between,' 'Every Which Way,' and 'Silence (for John Cage)'—alongside a drawing. 'Silence (for John Cage)' is particularly notable, featuring an 80-ton forged steel slab positioned horizontally. This minimalist artwork dominates the luminous white gallery space, exuding a primitive and raw quality that confers an almost overwhelming physical presence upon the viewer. The other works in this series expand on the same thematic approach, utilizing various configurations of steel slabs to delve into the artist's concepts of weight, balance, and spatial dynamics. Among these, 'Every Which Way' stands out. This installation comprises 16 foot-thick slabs arranged on a rectangular grid at three different heights. Walking through this arrangement, visitors might feel as though they are participating in a processional movement, reminiscent of a funereal procession. This effect serves as a compelling counterpoint to the other works and to 'NJ-1,' underscoring the powerful material presence that defines Serra's art. The exhibition collectively offers a profound engagement with the artist’s characteristic use of materials and scale, inviting introspection on space and human perception. Both exhibitions, 'Richard Serra: Above Below Betwixt Between, Every Which Way, Silence (For John Cage), Through' and 'NJ-1,' were on view until 29 July, providing a comprehensive look at Serra’s ongoing artistic endeavors in New York. #RichardSerra #GagosianGallery #ArtInstallation #Sculpture #SteelArt #NewYorkArt #ContemporaryArt #MinimalistArt

Yuko Mohri’s new exhibition, ‘Entanglements,’ at Milan’s Pirelli HangarBicocca, features seven existing works across a 4,000 sq m space. The exhibition explores the concept of interconnectedness, examining how seemingly disparate elements interact within a shared environment and reflecting broader invisible links between living and inanimate objects. Mohri's artistic approach is characterized by innovation, drawing inspiration from everyday occurrences, such as the improvised water-catching systems found in Tokyo's subway. Her work, including 'Compose' at the 2024 Venice Biennale, often incorporates kinetic sculpture, natural elements like rotting fruit, and intricate systems of vessels to create immersive sensory experiences. The artist's creative process is significantly influenced by historical figures and movements. Marcel Duchamp, a French Dadaist, is cited as a key inspiration, particularly 'The Large Glass,' which Mohri found surprisingly handmade and felt a strong connection to. She also acknowledges the impact of South Korean artist Nam June Paik, known for his foresight into the digital age, and the experimental Fluxus movement. Mohri appreciates the Fluxus emphasis on process over polished results and the raw assembly of novel ideas using simple, familiar materials, which aligns with her own practice of embracing imperfection and unexpected developments in her work. Mohri's installations are highly responsive to their immediate surroundings. She often sources materials locally, adapting her creations to the specific architecture and context of the exhibition space. Her pieces are dynamic and evolve throughout their display, with elements undergoing decomposition or accumulation, allowing for unforeseen changes that enrich her artistic perspective. She views these unplanned transformations not as failures but as opportunities for meaningful evolution within her work. This adaptive and intuitive approach ensures that each exhibition is a unique interaction with its environment. A central aspect of Mohri’s exhibitions is the encouragement of a direct, bodily response from viewers. For a previous show at the Artizon Museum in Tokyo, she deliberately omitted extensive explanatory texts, urging visitors to engage their senses and focus on the visual, auditory, and tactile experiences. She hopes this approach fosters a sense of familiarity, as people recognize the everyday objects and sensations presented in her art. Mohri observes that children and pets often engage with her work without needing additional context, highlighting the universal appeal of her sensory-driven installations. The ‘Entanglements’ exhibition at Pirelli HangarBicocca is designed to offer a cacophony of sights, sounds, and smells. Mohri anticipates that while the space may initially appear chaotic, viewers will eventually perceive a hidden order or a moment of profound chemistry, akin to a 'tear in the world.' Her ultimate goal is for visitors to leave with an understanding that the sensations they experience are deeply connected to the complexities of language, matter, and life, and to inspire them to imagine alternative ways of perceiving the world beyond their existing frameworks. The exhibition runs until 11 January 2026. #YukoMohri #ArtExhibition #MilanArt #PirelliHangarBicocca #ContemporaryArt #InstallationArt #MarcelDuchamp #SensoryExperience #JapaneseArt

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

Albanian artist Anri Sala has created a hypnotic film and sound installation titled "Time No Longer" in Houston's Buffalo Bayou Park Cistern. This monumental work pays homage to African American astronaut and saxophonist Ronald McNair, who tragically died in the Space Shuttle Challenger explosion in 1986. McNair had intended to record music in space, a goal that was never realized. Sala's work is characterized by its exploration of the space between the tangible and intangible, often delving into complex themes and emotions where language falls short. The installation, situated in the vast, subterranean Buffalo Bayou Park Cistern—an 87,500 sq ft reservoir with 221 columns—evoked a sense of space exploration for Sala. He adapted his initial idea upon recalling McNair's story, feeling a strong connection between the unique architectural space and the astronaut's unfulfilled aspiration. The core of "Time No Longer" involves a visual projection of a turntable, seemingly weightless, attempting to play a record. The stylus intermittently connects with the grooves, producing snippets of music, but frequently skips and floats away, symbolizing McNair's aborted mission and the music he never got to play. This repetitive motion creates a sense of continuous interruption, reflecting on the fragility of aspirations and the impact of sudden loss. The screen used for the projection is translucent Hologauze, which disappears when the film is not running, allowing viewers to engage with the natural darkness of the cistern. When the film is active, its reflection on the surrounding water surface generates an illusion of countless turntables adrift in an infinite void. The audio component of the installation is a mixed clarinet and saxophone rendition of Olivier Messiaen’s "Quartet for the End of Time." This choice is significant, as Messiaen composed the piece while in a German prisoner-of-war camp during World War II, imbuing it with a profound sense of loneliness that resonated with Sala. The deliberate blending of the instruments makes it difficult to distinguish between them, further emphasizing the idea of a sound existing before its full realization, akin to McNair's unrecorded music. McNair's original intention was to collaborate with French composer Jean-Michel Jarre on the album "Rendez-vous," a project Jarre later completed as a tribute. Sala has a history of incorporating jazz into his art, appreciating its non-narrative qualities. He draws parallels between "Time No Longer" and his previous works like "Long Sorrow" (2005) and "Answer Me" (2008), both of which engage deeply with their architectural settings. In "Long Sorrow," saxophonist Jemeel Moondoc was suspended 60 feet in the air, using music to escape his physical situation. In contrast, "Time No Longer" focuses on drifting in space while being anchored in time, highlighting the interconnectedness of the artwork with its environment. Sala views the space not merely as a backdrop but as an active participant, an "organ" that collaborates in the retelling of a story, prompting reflections on context and history that extend beyond conventional storytelling. The installation, described as a performance without a performer, resonates with the collective experiences of isolation and reflection in contemporary times. The exhibition ran until 12 December 2021 at the Buffalo Bayou Park Cistern in Houston. #AnriSala #ArtInstallation #TimeNoLonger #BuffaloBayouParkCistern #RonaldMcNair #ContemporaryArt #FilmAndSound #HoustonArt #OlivierMessiaen

Phillip K Smith III, a Californian artist, is celebrated for his unique, light-based installations that integrate seamlessly with natural environments. His work is now documented in a new book, "Five Installations," published by the Laguna Art Museum. The book delves into five of Smith's most notable outdoor installations, offering a comprehensive look at his creative process and the impact of his art. Smith, who is based in Palm Desert, draws inspiration from the distinct light and landscapes of Palm Springs and Death Valley. "Lucid Stead" (2013) is highlighted as Smith's breakthrough piece. For this installation, he transformed a historic homestead shack in Joshua Tree into a dynamic mirrored structure. This structure reflected and distorted the surrounding desert landscape and sky, effectively turning the environment into an interactive surface for observation. Smith noted that this project marked his first endeavor to use the environment itself as a medium, transforming the shack into a tool for experiencing the desert in a new way. Another significant work featured in the book is "1/4 Mile Arc" (2016), created for the Laguna Art Museum. This installation consisted of a gentle arc of reflector planes that contoured the beach. The reflectors reconfigured and collaged scenes of the oceanfront, producing a captivating and ever-changing visual experience. Smith's intention was to create a quarter-mile-long reflective drawing that would continuously adapt to the changing environment of Laguna. His artistic background includes studies in both fine art and architecture at the Rhode Island School of Design, which informs his multidisciplinary approach. The book also touches upon Smith’s smaller-scale works, such as his ongoing series of mirror and light pieces. These sculptures explore perceptions of reflection, shadow, and color in more contained forms. However, the book emphasizes that it is Smith’s large-scale outdoor installations that truly stand out and have an unparalleled impact, demonstrating his mastery in transforming vast landscapes into immersive artistic experiences. These installations are characterized by their temporary nature, often appearing fleetingly against remarkable natural backdrops, yet leaving a lasting impression on viewers. "Five Installations" is priced at $29.95 and is available through the Laguna Art Museum. The book serves as an important compilation of Smith’s major works, providing insight into his artistic philosophy and his profound connection to the California landscape. It features detailed photographs that capture the essence and scale of his installations, allowing readers to appreciate the nuances of his site-specific art. For further information, details can be found on Phillip K Smith III’s official website. #PhillipKSmithIII #ArtInstallations #CaliforniaArt #LagunaArtMuseum #LightArt #DesertArt #EnvironmentalArt #ContemporaryArt #Architecture

The exhibition 'Black Box' by Hiroshi Sugimoto is currently on display at Foam in Amsterdam, marking its final European stop. The retrospective features a diverse range of works from the Japanese artist, exploring themes of time, empiricism, and metaphysics through various photographic techniques. Curator Philip Larratt-Smith chose the title 'Black Box' to encompass multiple interpretations, likening it to a camera, a coffin, or an aircraft's black box, reflecting the multifaceted nature of Sugimoto's art. Sugimoto, born in Tokyo in 1948, moved to the US in the 1970s to pursue photography studies. His distinctive style, while often surreal, is rooted in formalism, utilizing the camera's technical capabilities to delve into philosophical concepts. The exhibition showcases five distinct series, providing a comprehensive overview of his 40-year career and offering insights into his artistic evolution. Each series is considered open-ended, suggesting that Sugimoto continues to add to them as new situations align with his artistic criteria. One of the prominent series featured is 'Dioramas,' which Sugimoto began in 1976. In this work, he employs the camera as a 'time machine,' using black and white photography to create 'historic landscapes.' These images, though fantastical, possess a remarkable authenticity that challenges viewers to question their perceptions of reality and knowledge. This exploration of belief and truth forms a foundational element of his artistic practice. The concept of time is further developed in 'Theaters.' For this series, Sugimoto photographs movie palaces and drive-in theaters with an open shutter, allowing the duration of the film to dictate the exposure time. The resulting blank screens, achieved through deliberate overexposure, illuminate the otherwise darkened interiors of the theaters. These photographs visually manifest the idea of duration, presenting what appears to be a single instant as an accumulation of prolonged time. In 'Seascapes,' Sugimoto shifts his focus to the natural world, capturing primitive shots of the sea and sky. This series offers another perspective on the notion of time, with Sugimoto himself stating that an awareness of time's passage is fundamental to human consciousness. Larratt-Smith emphasizes Sugimoto's mastery as a technician, noting his use of analogue techniques in a digital age and his ability to harness the full history of photography to create his images. Larratt-Smith describes Sugimoto's works as possessing a 'heightened reality.' These are not everyday snapshots but meticulously crafted art objects, elaborate both conceptually and formally. The exhibition comprises 34 large-format works, illustrating Sugimoto's technical prowess and his consistent pursuit of exploring profound philosophical questions through the photographic medium. The exhibition will be on view until March 8th at Foam, Amsterdam. #HiroshiSugimoto #PhotographyExhibition #BlackBox #FoamAmsterdam #ArtPhotography #ConceptualArt #TimeInArt #AnaloguePhotography #ExhibitionsShows

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

Carpenters Workshop Gallery in London is hosting 'Run & Hide,' the first solo exhibition for Dutch designer Maarten Baas at their new London space. This exhibition offers a preview of the upcoming major retrospective of Baas's work, titled 'Hide and Seek,' at the Groninger Museum in the Netherlands. The London show highlights four significant collections from the designer's career, showcasing his unique approach to furniture design. One of the featured collections is 'Close Parity,' first unveiled during Dutch Design Week 2016. This collection comprises five furniture pieces that originate from what Baas describes as 'naive sketches.' These initial, childlike drawings are then extruded into three-dimensional forms. The design philosophy behind 'Close Parity' intentionally disregards conventional constraints such as gravity and logistical concerns, allowing the whimsical and irregular lines of the original sketches to be faithfully translated into physical objects. The resulting brass pieces retain the eccentricities and intricate details of the sketches, often appearing as almost impossible, off-balanced, and top-heavy sculptures. To achieve structural stability, heavy counterweights are discreetly incorporated within the pieces. The collection exemplifies a blend of childlike form and logic with meticulous craftsmanship and a sophisticated understanding of materials and physics, as the imperfections of the linework are rendered in pure brass. The exhibition also marks the UK debut of Maarten Baas's 'Carapace' collection. This series draws inspiration from the protective, decorative, or camouflaging shells found on animals like beetles and turtles. First presented at Carpenters Workshop Gallery New York in 2016, the 'Carapace' collection includes a desk, a cabinet, an armchair, and a cupboard, each reflecting the thematic influence of organic shells. Additionally, the show features two of Baas's renowned 'Clay Chairs.' While typically available as an open edition, a special bronze version has been created to commemorate the design's 10th anniversary, adding a unique element to the display. A piece from the designer’s celebrated 'Real Time' collection is also on view. This includes a bronze 'Grandfather Clock,' an early example of Baas’s innovative timekeeping designs. These clocks feature a 12-hour video of a man drawing and erasing the minute and hour hands directly onto the clock face. The 'Real Time' series has garnered significant recognition and is now part of numerous museum collections worldwide. Amsterdam's Schiphol Airport recently commissioned a large-scale version of this clock for its main hall, underscoring its iconic status. Finally, a prominent piece from the 'Smoke' series is included in the exhibition. In this series, furniture pieces are entirely carbonized using a blow-torch, a process that intentionally highlights human intervention and transforms perceived flaws into aesthetic qualities. These designs, which were part of Baas’s graduating show at Design Academy Eindhoven in 2002, have since been acquired by prestigious institutions such as the Victoria & Albert Museum and the Groninger Museum. The 'Run & Hide' exhibition thus offers a comprehensive overview of Maarten Baas's distinctive and critically acclaimed design philosophy. #MaartenBaas #FurnitureDesign #CarpentersWorkshopGallery #Exhibition #CloseParity #CarapaceCollection #RealTime #SmokeSeries #DutchDesign

Milan Design Week transforms the city into a global design hub, attracting attendees to both Salone del Mobile and Fuorisalone. This year's event showcases a diverse range of installations, highlighting innovative approaches to design, lighting, and materiality. Atelier Biagetti, a recurring favorite at Fuorisalone, presents "The King," an exploration of obsessions inspired by Elvis Presley. Their installation reimagines a fantastical living room featuring "The King Sofa," a modular piece accompanied by guitar cases cleverly reinterpreted as tables with intricate Ravenna mosaics. This piece exemplifies their propensity for the impossible and their unique artistic vision. Ross Gardam, an Australian lighting designer, offers "Transcendence," an exhibit focused on the allure of illuminated glass. Gardam, known for creating meditative moods with his fixtures, demonstrates his broad talents and deep fascination with glass's ability to transcend physical boundaries. The installation promises a dynamic curation of luminaires, showcasing the material's unparalleled qualities. Giopato & Coombes, Treviso-based lighting masters, unveil "18 Pockets" after six years of dedicated research. This exhibit provides a glimpse into their creative process, highlighting the magical qualities of the immaterial. Their previous fixtures are transformed into 18 unique luminaires through a complex system of weight and balance, creating charming and poetic combinations. Galerie Philia's "Desacralized" exhibition takes place in a deconsecrated 11th-century Milanese church, fittingly exploring the theme of desacralization. Over 20 artists from the gallery's roster contribute to this unique setting. Notable pieces include Studiopepe's octagonal marble side table, inspired by Italian baptisteries, Kar Studio’s chair, drawing inspiration from ancient Chinese Shang Dynasty script, and a monumental chandelier by Morghen Studio, designed to offer a transformative experience of light within the historic space. SolidNature returns with "Beyond the Surface," an OMA-designed installation that metaphorically connects quarrying stone with the act of dreaming across seven distinct rooms. A highlight is Sabine Marcelis’s lustrous table, an ombré glass coffee table anchored by impressive stone blocks, demonstrating her experimental approach to materials. Objects of Common Interest, composed of Eleni Petaloti and Leonidas Trampoukis, presents "Poikilos." Inspired by ancient Greek references to iridescence and insights from Romanian artisan Ovidiu Colea, their ethereal objects and tables with opalescent finishes and sinuous curves inject energy into the Nilufar Depot. Loewe Chairs, under Jonathan Anderson's direction, reinterprets chairs into distinctive totems through an emphasis on texture, personality, color, and weaving. The display integrates materials close to Loewe’s brand identity, such as leather and raffia, with unexpected techniques like incorporating thermal blankets, elevating the humble stick chair into a canvas for elaborate woven decoration. Suchi Reddy, founder of Reddymade Architecture and Design, collaborates with Lexus on "Shaped by Air," an installation focused on carbon neutrality. Visitors navigate a forest of Matisse-like forms to discover a life-sized interpretation of the Lexus Electrified Sport, designed to evoke the sensation of being shaped by air. Lastly, "Bar Flora" is a collaboration between Sophie Lou Jacobsen, Nick Ozemba, and Felicia Hung of In Common With. Building on their Flora Collection, which employs Venetian glassmaking techniques to mimic natural forms, this installation transforms Palinurobar into a floral oasis. It introduces two new additions, including a sandblasted amber colorway, further enhancing their partnership. Byredo, known for its unconventional approach to fragrance, showcases "Bal D’Afrique by Dozie Kanu." Founder Ben Gorham teamed with Portugal-based artist Dozie Kanu to capture the essence of the beloved fragrance through a showcase that merges Kanu's unique objects with photographic negatives from Adjoa Armah’s _saman archive_, creating a multi-sensory experience that extends beyond traditional perfumery. #MilanDesignWeek #DesignInstallations #Fuorisalone #LightingDesign #FurnitureDesign #MaterialInnovation #CollectibleDesign #ArtAndDesign

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Luminaire, an American design retailer, is hosting a retrospective exhibition in its Chicago showroom dedicated to the illustrious career of Italian architect and designer Antonio Citterio. This exhibition coincides with the design fair Neocon and serves to illuminate the intricate connections between design processes, final products, and overall design philosophy that characterize Citterio’s extensive body of work. The spotlight is cast upon his significant contributions to renowned brands such as B&B Italia, Vitra, and Kartell, among others. Throughout his remarkable career, Antonio Citterio has consistently prioritized a methodical approach over mere stylistic trends, cultivating a holistic design sensibility. This has led to the formation of enduring and special collaborative relationships with the companies he frequently partners with. The exhibition showcases a diverse range of Citterio's seminal pieces, illustrating the breadth and depth of his influence across various design categories. Notable inclusions are the sinuous ‘Mart’ lounge chair, originally designed for B&B Italia in 2003, and the ‘A.B.C’ club chair, which he created for Flexform in 1996. The scope of his work extends beyond furniture, encompassing gym equipment developed in collaboration with Technogym, lighting fixtures for Flos, and sophisticated bathroom fixtures for Axor. To provide a comprehensive understanding of Citterio's creative journey, the exhibition incorporates various multimedia elements. Videos and photographs offer insightful glimpses into the behind-the-scenes processes involved in the creation of his key pieces. Furthermore, additional imagery is presented to provide a broader context to his extensive oeuvre, featuring a selection of international architectural works that Citterio has brought to fruition over the years. These visual aids help visitors appreciate the multi-faceted nature of his talent and his consistent vision. Antonio Citterio has maintained a long-standing friendship and collaborative relationship with Luminaire. This partnership has manifested in several significant projects, including a 2006 fundraiser where Citterio adorned an Eero Aarnio ‘Puppy Love’ stool, and a distinctive paper installation at Luminaire's Miami showroom during Design Miami in 2008. These collaborations underscore the mutual respect and creative synergy between the designer and the retailer. In conjunction with the exhibition, Citterio is scheduled to deliver a lecture at the Museum of Contemporary Art Chicago on June 13. During this event, he will delve into the various aspects of his career, offering attendees a unique opportunity to gain insight into his creative process and design philosophy. The exhibition itself is open for public viewing until July 15, providing ample time for design enthusiasts and professionals to explore the enduring legacy of Antonio Citterio. Luminaire, located at 301 West Superior, Chicago IL 60654, serves as the venue for this significant retrospective, cementing Citterio's place as a pivotal figure in contemporary design. #AntonioCitterio #Luminaire #DesignRetrospective #ItalianDesign #FurnitureDesign #ArchitecturalDesign #InteriorDesign #Neocon #Vitra

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

Materia 2.0, a new material library located in the heart of Porta Nuova, Milan, was unveiled during Milan Design Week 2025. This initiative, spearheaded by Fabio Pecora, aims to place materials at the forefront of design, innovation, and sustainability discussions, moving beyond their traditional role as mere components. Silvia Spreafico, design manager at Materia 2.0, highlights the necessity for a comprehensive dictionary of architectural materials in Italy, which the Como-based company has taken upon itself to create. The library spans 500 square meters and houses an extensive collection of over 1,200 material samples, with a catalog exceeding 15,000 products. These materials, sourced from various regions across Italy, represent fine craftsmanship, innovative qualities, and the 'Made in Italy' integrity. The collection includes a diverse range of architectural materials such as metal, glass, ceramic, porcelain stoneware, concrete, marble, natural stone, wood, terracotta, resin, fabric, and cement grit. The objective is to continually expand this collection, making it the largest material library in Italy, encompassing everything from surfaces to upholstery materials, and from artisanal to industrial products. The visual presentation of Materia 2.0 is meticulously organized. A 30-meter-long gallery displays material samples much like books on a shelf, ensuring each 'spine' or sample is perfectly aligned. Each piece is standardized to a 20x20cm format, regardless of its original weight or density, and is accompanied by information panels and QR codes. These digital tags provide in-depth technical specifications and variations, allowing designers and architects to quickly access crucial data for their projects. The selection process for inclusion in Materia 2.0 is primarily based on quality. Spreafico cites examples such as Marca Corona, a ceramics brand established in 1741, known for its rich history and unique pieces, some of which are showcased in the library. Another example is Il Ferrone, a Tuscan company that produces both industrial and artisanal terracotta, reviving ancient kiln techniques. The library also features classic Brianza-based furniture makers like Barzaghi Salotti and metal workshops like Zava, which has evolved to create sculptural lighting pieces. A common thread among all featured companies is their strong in-house production values. Beyond just a display space, Materia 2.0 incorporates immersive exhibition areas where materials are presented as finished furniture pieces and experimental installations. For instance, CP Parquet, a Venetian flooring company, demonstrates how its flooring materials can be innovatively used to create coordinated tables and bookshelves. The overarching ambition for Materia 2.0 is to evolve beyond a mere showroom into a center of excellence dedicated to research, design, and interdisciplinary exchange. While partner companies are involved, the project emphasizes its non-commercial nature, positioning itself as a tool for experimentation and bold material combinations rather than a direct sales platform. #MilanDesignWeek #MaterialLibrary #ItalianDesign #ArchitecturalMaterials #DesignInnovation #SustainableDesign #Craftsmanship #InteriorDesign #DesignResearch

This article discusses a recent art installation at the Dior Homme store in Paris, created by young Italian artist Andrea Mastrovito. The installation, inaugurated last Thursday, features a multitude of black decoupage butterfly replicas. These replicas are intricately arranged to serpentine across the ceiling and walls of the store's white interior, evoking a visual parallel to birds in flight, albeit with a less menacing and more aesthetic appeal. The project was specifically commissioned by Kris Van Assche, the artistic director for Dior Homme. His inspiration for this particular installation stemmed from his Fall/Winter '08 collection, which prominently featured butterfly motifs. This collection integrated butterflies into various clothing items, ranging from blazers and t-shirts to uniquely designed butterfly-shaped bow ties, showcasing a whimsical and distinctive aesthetic. The installation consists of nine thousand individual black decoupage replicas, meticulously placed throughout the boutique. The visual effect created by these numerous replicas is one of dynamic movement and artistic grace, transforming the space into an immersive experience for visitors. The choice of black for the butterflies against the white backdrop of the store enhances their visual impact, making them stand out as a striking design element. Mastrovito's work is intended to be a temporary exhibition, enhancing the store's ambiance for a limited period. The installation is scheduled to remain on display for one month, after which it will be dismantled. This temporary nature adds to its exclusivity and artistic appeal, encouraging visitors to experience it within its specific timeframe. The Dior Homme store, where this installation is housed, is located at 25 rue Royale, Paris 8ème. This address is a notable location in Paris, contributing to the prestige and visibility of the art project. The collaboration between a contemporary artist like Andrea Mastrovito and a high-fashion brand such as Dior Homme highlights a growing trend of integrating art into retail spaces, creating unique brand experiences that go beyond mere product display. Such initiatives serve to blend fashion, art, and design, offering a multifaceted engagement for the audience. The installation not only serves as an artistic statement but also as a homage to Kris Van Assche's past work and his enduring influence on Dior Homme's aesthetic. By reinterpreting a key motif from a previous collection, the project bridges different periods of the brand's creative history, providing a sense of continuity and evolution. The detailed craftsmanship involved in creating and installing nine thousand decoupage pieces underscores the dedication to artistic quality and the immersive experience sought by both the artist and the brand. This event contributes to the cultural landscape of Paris, positioning Dior Homme not just as a fashion retailer but also as a patron of contemporary art. #DiorHomme #AndreaMastrovito #ArtInstallation #ParisFashion #FashionAndArt #RetailDesign #KrisVanAssche #DecoupageArt