A solid marriage that is also confirmed during the Milan Art Week. The events hosted by the showrooms of the design brands and the sponsorships that nurture experimentation and research. All in the name of art

It is Milan Art Week and the design showrooms come alive with exhibitions.

Invitations to hybrid events are flooding, in which artists are hosted and supported in project contexts. After all, the art / design relationship is long-standing and enjoys stability. Two different ways of using creativity and ingenuity which, however, study closely, look at each other, are inspired.

There are many more or less unexpected incursions, more or less legitimized on one side or the other of the ford between industry and artistic expression. The border is very precise, or at least it has been for a long time. Design is a way of thinking about reality, thinking about it in the true sense of the word, which sometimes needs to explore freely beyond the boundaries of industrial design.

Art and design: a dialogue that makes sense if it is authentic

Before an excursus among the Milanese events of the Art Week in which design brands are involved, an engraving by the curator Federica Sala, who has been moving on the thin border line for years with his valuable work for Milanese galleries, designers and artists. "The real dialogue between art and design is neither common nor simple. The best starting point is undoubtedly a authentic and mutual curiosity", begins the curator.

"There have been emblematic cases, in which the dialogue between the two disciplines has produced results of great beauty". The reference is for example to the collection presented by Design Gallery designed by Alberto Garutti. Or the House Iolas, Intercom Vezzoli exhibition: a dialogue between a contemporary artist and the spaces inhabited by a famous art dealer from the past.

"The most interesting projects are those that give a new reading of space: the site specifics of the ICA Foundation with Michael Anastassiades for example, arise from the will of a small group of collectors to give space to the personal research work of a designer".

It is important, for the dialogue to have a meaning, that there is a clear personal matrix, the soul of the designer, or of the collector.

Ronan Bouroullec and the first solo show at Casa Mutina

Federica Sala concludes by citing the case of Mutina among the most attentive companies and art experts.

Massimo Orsini, its CEO, is a connoisseur and expert, as well as a collector of contemporary art. And it shows. Because the Casa Mutina project not only convinces designers to look confidently at the work as an end in itself, but relaunches it by bringing research work into typological experimentation and production. These days, at Casa Mutina in via Cernaia 1 / A, The sound of my left hand by Ronan Bouroullec: drawings, watercolors and sculptures (in collaboration with Bitossi Ceramiche) that find a space in the rooms of the gallery designed by Patricia Urquiola.

Jannelli&Volpi and Alice Pedroletti together for Death of a folding boat on dry land

Death of a folding boat on dry land is the title of the installation by Alice Pedroletti presented by Untitled Association within the Miart from 1st to 3rd April.

A complex work, which tackles the topic of machine learning from an antithetical, almost pedagogical, perspective. Few information processed by the machine as attempts to find a solution. The result is a graphic sign: “almost a hieroglyph”, explains Alice Pedroletti. "I'm interested in error, both human and machine. Technically we consider it such, but from the point of view of inventiveness and art it becomes something else. I am interested in seeing how the machine becomes an artist in turn".

Nine small videos, the background of the wallpaper produced by Jannelli&Volpi, with a one meter by one meter pattern that repeats itself. In addition, six photographs represent the more formal and romantic aspect of the artist's practice. "They tell of an environment linked to the island, to the urban archipelago, in which there is more the absence of man than the presence of him".

Material from Gaggenau

The Gaggenau DesignElementi Hub in Milan (Corso Magenta 2) hosts the Materabilia cycle throughout 2022, four exhibitions curated by Sabino Maria Frassà, artistic director of Cramum. The object of the investigation is the constant change of matter.

The retrospective of Paola Pezzi Passaggi di Stato, which collects iconic works from thirty years of artistic work, opens during the Art Week. "Not great works, but concentrations and fragments of condensed and autonomous space", explains the artist who has always worked on the theme of an energy matrix capable of transforming matter.

Read also: the in-depth study of the exhibition

Grande Milano by Aldo Rossi for Molteni&C at the Triennale

Arrives in the garden of Triennale di Milano the chair Grande Milano by Aldo Rossi, the first Italian architect to receive the Pritzker Architecture Prize in 1990. It is the memory of Milan, the city of origin and training that Rossi knew and loved deeply.

The Grande Milano chair, designed in 1987 for Molteni&C who donated it to the Triennale, represents an out-of-scale object, an architecture that fully corresponds to Rossi's idea of creating objects domestic, which relate to the surrounding architecture.

Sponsoring art: when design brands are looking for a position

Lanerossi has re-edited in the last twelve months two patterns designed for the V and VI Triennale in Milan, respectively in 1933 and in 1936. They are called Triennale and Triennale 2 and are memories and traces of cutting-edge textile research, between modernism and natural inspirations.

In addition, the Vicenza brand has chosen to present the novelties of 2022 within an immersive path set up at the Casa degli Artisti in Milan. This is how companies approach the world of art looking for a positioning that can only do good, both from a cultural and marketing point of view.

Federica Sala explains: "The reasons for this interest are simple: art is a preponderant social phenomenon, which has a great deal of space in communication. There are institutions such as the Fondazione Prada that seem to have been made on purpose to evoke status symbols".

Sanlorenzo for the Italian pavilion of the next Venice Biennale

This is how marketing feeds culture, supports artistic research work and, of course, the most innovative profiles of creative production. Sanlorenzo will be main sponsor of the Italian Pavilion at the next Venice Biennale of Art.

But the brand has long been committed to establishing relationships with the most important galleries and cultural institutions (from Art Basel onwards). Sanlorenzo Arts was born, a real producer of culture, art and design. Among the latest collaborations are Emil Michael Klein and McArthur Binion, while the Italy pavilion was entrusted to Eugenio Viola.