During the year, Extraordinary will animate, through a dynamic path aimed at overcoming the ordinary, precisely, the Gaggenau DesignElementi hubs in Rome and Milan, drawing inspiration from the elements at the base of the design that distinguishes the German brand's appliances – the light and the invisibility –, to which are added the materials used: glass, metal and wood.

Four artists are the protagonists of the cultural cycle – Fabio Sandri, the duo TTozoi, Fulvio Morella and Francesca Piovesan – who will guide the discovery of the extraordinariness that surrounds us and from which we must start again. The leitmotif of all the exhibitions will be the reflection on coexistence in urban, architectural and social space.

The seven installations selected by the curator Sabino Maria Frassà for the first exhibition IO | N, exhibited until 23 September 2021 (summer closure from 1 to 31 August), they are integrated into the spaces of the Milanese hub in Corso Magenta 2 to weave an intense story. “For Sandri, there is no degree of separation between the self and the other from the self ” explains the art director of Cramum. “Who am I? I am the reality, the space in which I exist, never alone. They are therefore also everything that is other than me, they are an infinite NOI”.

“The large Rooms hanging on the walls are organic and complementary to the design elements of the showroom, which in turn become an integral part of the exhibition: a bedroom thus stands alongside a real kitchen. The result is a kaleidoscope of meaning and suggestions, open to infinite interpretations and as many references, not only to great artists such as Bacon, Giacometti and Vedova, but also to masters of Italian design such as Magistretti and Castiglioni” conclude Frassà.

Fabio Sandri's art uses light as a fundamental instrument of knowledge, or rather of the unveiling of reality; it is characterized by a plastic conception of the photographic medium, investigated in its essence, or as an imprint on a photosensitive support in direct contact with the materiality of the places or as a continuous imprint of temporal becoming. Human presence and temporal physicality thus 'fall' into the photographic material. The result is works in which the footprints of films are added to those of the environmental situation, in open processes, under construction.