From D’Annunzio to Gio Ponti, the Creative DNA of the Renaissance
位置: La Rinascente
地址: Piazza del Duomo
In 1883, Au Bonheur des Dames was released and, thanks to Emile Zola, the phantasmagoric novelty of Paris’ huge department stores became protagonists of a novel. At the same time, transformations were occurring at the Magazzini Bocconi of Milan, an Italian success story that would soon conquer Genoa, Rome, Trieste, Palermo and Turin. Surprised you never heard of it? Nothing strange at all - in 1917, the chain became known as La Rinascente, thanks to the fortunate invention of another literary great, Gabriele D’Annunzio. In Milan the following year, La Rinascente opened to the public in Piazza Duomo and not even a horrible fire would hinder its triumphant march forward. The collaboration with D’Annunzio was no isolated case - artists and other Made-in-Italy creative minds have always played a key role in the history of the company. Witness to this fact are the Liberty Style posters created by great artists such as Marcello Dudovich, or the Compasso d’Oro, the celebrated award for the top in Italian design. Few people know that it was launched by La Rinascente, picking up on an idea of Gio Ponti.
Piero della Francesca's masterpiece reunited again
In a unique and unrepeatable exhibition, a masterpiece by Piero della Francesca is presented for the first time in history, 555 years after its creation: the Augustinian Polyptych.
The retrospective of Nari Ward presents, for the first time, a combination of works that interweaves his exploration of performativity and collaborative projects: over thirty years of practice, presenting early seminal and historical works as well as new productions.
Nicolas Party's wonderful creatures under the threat of extinction
In the last year Nicolas Party's imagery has evolved: he has painted large forest fires and dinosaurs. When Tomorrow Comes establishes a clear connection between the work and the idea of extinction. The end of humanity and many other species is the artist's theme of interest.
Through a series of installation interventions, spanning works of art and exhibition elements, Haris Epaminonda presents a symbolic journey in comparison with the historical avant-gardes of Futurism.