It was 1965 when Bruno Munari and Achille Castiglioni created the first poster of the Derby Club. In no time, the dark basement club near the horse-racing track of San Siro would become the hottest night club in Milan. At Via Monte Rosa, some of the greatest musical legends went on to play, such as Charles Aznavour, John Coltrane and Quincy Jones. And the patrons? From Giorgio Strehler to Mina and Marcello Mastroianni, from Gianni Rivera to Mike Bongiorno, from Dario Fo to Bettino Craxi, the Derby was an obligatory stop for everyone. Among its diehard regulars was robber, artist and writer Luciano Lutring, known as “the submachine gun soloist”. More than once, other patrons would watch him leave his champagne half-finished and rush out the nearest window to dodge the police. The Derby became a landmark in the city and architects and artists would compete over the honour to embellish it and leave their own mark on it. Times were ripe for change - Via Monte Rosa became the Mecca of Cabaret, gathering the talents of a city undergoing a lively transformation. The son of the coat lady Diego Abatantuono took the stage, but also Teo Teocoli, Massimo Boldi and Giorgio Faletti, just a few of the new generation of comics who shared the spotlight with older seasoned artists like Cochi & Renato, Giorgio Gaber and Enzo Iannacci.
Picasso did not consider the art that inspired him, which moved his creative mind in an unstoppable desire to open new paths, as "primitive", he did not see a "before" and an "after" in art, there was no "other", "different" art: Picasso conceived it as a timeless Whole.
Bulgari Debuts Summer Collection at Milan Fashion Week
Summer fashion in our sights. Milan Fashion Week saw the debut of Bulgari's summer Leather Goods & Accessories collection at the Bulgari boutique, as well as ...
Chiara Camoni: art as a link between nature and spirit
One of the most prominent Italian artists of her generation, Chiara Camoni focuses her practice on various mediums, from drawing to plant prints, from video to sculpture, with particular attention to ceramics.
In her practice, Sang A Han explores oriental painting in its contemporary adaptation. Soft sculptures and layered paintings made with Meok (China ink), cotton fabric and stitching are the result of an intimate revisitation of tradition through a creation process that the artist herself defines performative.