“They are guardians, selfless spirits, like the Lares and Penates, who protect our now extinct domestic hearth. They take part in the show of life and have a role in the plot. They are partly tools and partly props, partly means and partly stories ”. This is how Andrea Branzi talks about his Grandi Legni, works that recall totems, spiritual protective tools and bridges connecting with a mystical dimension. Literally, totem means "sign of the clan", and derives from ototeman, a term that in the language of the Native American people Ojibway indicates the guardian spirit of the clans, thanks to which the members were all considered relatives. Supernatural entities that symbolize something magical, transcendental.
Until 7 May, the Grandi Legni are on display at Nilufar Depot, unique pieces designed by the master and co-produced by Nilufar and Design Gallery Milano: five works, together with etchings, artist's proofs and a panel from the Architettura Povera series, proofs of artist and a panel from the Assolo di Croci series, as well as four unpublished works.
The animist roots of the Great Woods
A little 'architectural installations, a little' everyday tools, the Great Woods symbolize mysterious entities that communicate with an ancestral language, "animist roots", objects with a spirit. Wood, a primordial material, determines its function of supporting the efforts of those who own them. "Wood is the basis of Europe, the foundation on which humanity has built its landscape throughout history," explains Branzi. Grandi Legni as a reinterpretation of the material carried out through innovative 3M printing methods, creation of inlays of Florentine semi-precious stones and micro-mosaics from the Spilimbergo school, recovery of more humble elements, such as a chicken coop net, search for ancient beams of Gadertal in Val Badia.
Etchings and artist's proofs
Etchings and artist's proofs that complete the exhibition represent a selection of works from the Architettura Povera series: fences and other simple, enigmatic environments, characterized by a particular aura and a "secular sacredness", and from the Assolo di Croci series, symbol of cross as an environmental sign that defines the meaning of any place, regardless of its religious implication.
Nina Yashar opens Branzi's 2022 with this event, the year that sees him as protagonist at the XXIII International Exhibition of the Triennale and author of an editorial project curated by Stefano Giovannoni and Francesca Arista Balena, during which the artist will talk about the new works of contemporary design : “Branzi's work is placed between past, present and future. Her grandeur lies in recognizing, understanding and rediscovering simplicity, which is brought to light in its purest, most elementary and powerful form ”concludes the gallery owner.