Home Tech: Casa Valsecchi and the Origins of Milanese Design
Местоположение: Museo Bagatti Valsecchi
Адрес: Via Santo Spirito 10
Few know that the home-museum - originally designed by two brothers, the Barons Fausto and Giuseppe Bagatti Valsecchi, at the end of the 1800s - was one of the first homes in Milan to have electricity. But that’s not all. In the bathroom, the shower (much more comfortable than a bathtub) is hidden in a fountain of white marble in true Renaissance style, complete with conch shells reminiscent of Botticelli. Inside this is fully functional plumbing which, from the floral centre, spouts hot and cold water. In the dining area, apparently bare, is the embodiment of the philosophy of the Bagatti Valsecchi House: the love for the past and Renaissance art which is well-balanced with modern comforts. The washbasin in bronze and the marble sink were, in fact, as early as the 1800s, already possessed of running water, quite advanced for the time. While they spent their lives following their dream of transforming their family home into an elegant dwelling modelled after the Renaissance in Lombardy, Fausto and Giuseppe Bagatti Valsecchi were real forerunners regarding the modern concept of design. The house, situated in the centre of Milan, between Via Gesù and Via Santo Spirito, is a treasure trove of remarkable home furnishings. Maniacs of detail, as well as fanatics about history, sport and technology, the tight-knit brothers called upon artisans and artists, enriching the home with precious works of art which they showed off during countless soirees with Milan’s high society.
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.
Over 200 shots, including over 60 medium and small formats, chosen and selected by the author and presented together with an unpublished interview, retrace the career of one of the most famous contemporary photographers.
The exhibition reflects on the traditional concept of the vitrine and its centrality in exhibition projects. In relation to the "classical museum display", the display case separates and at the same time exposes the object, offering it for viewing, but creating a barrier for the viewer.
Adrian Piper. Adrian Piper and racism in contemporary visual culture traitor
The first European retrospective in over twenty years dedicated to Adrian Piper, conceptual artist, minimalist and performer in the New York art scene of the late Sixties.