The forms of memory or the memory of forms are at the heart of this selection of exhibitions, linked to design, craftsmanship and remembering.
Which can be the guide of an ancient way of doing, which is handed down over the generations through manufacturing techniques and forms useful for everyday use, or a fallacious and magmatic ferryman towards the unknown and the creative imagination.
Murano celebrates the centenary of NasonMoretti, the glass company that has obtained the Compasso d'Oro for its creativity and craftsmanship, while at the Museum Mother of Naples, Ugo Marano makes the chair a crooked, ingenious work of art, suitable for reflections to be shared with others in the continuous imbalance between experience, memory and reworking. To the point that his ceramics, created to narrate the marine horizon, become a non-floor.
The game continues in two other forms.
The one proposed by Gian Maria Tosatti which makes the spectator the protagonist of the work of art, makes personal experience the keystone for understanding his works, this time in a site-specific version for a museum of Foligno.
While the one investigated by Careof, in Milan, at the Fabbrica del Vapore, has to do with memory understood as a living material that can be deformed up to its complete invention (and draws on an immense video art archive)
And the invention is the guideline of a reflective experiment on living proposed by the Vitra Museum in Germany: what can contemporary cities do to become resilient to the global rise in temperatures? The proposal of the award-winning curators Ahmed and Rashid bin Shabib is to look at the cities of the warmest regions of Arabic-speaking countries, between the past and present.
One hundred years of NasonMoretti. History of a Murano glass family, Glass Museum, Murano (Ve), from 19 May to January 6, 24
The Lidia bowls produced by Nason & Moretti, in 1955 won the Compasso d'Oro. And the following year the same series of glasses arrives at the MoMA in New York. Since then, Nason Moretti's creative ideas in the form of glass will be present at every Venice Biennale.
But the link between the glassware born in 1923 and design and architecture seems very strong right from the start.
Because the history of this glass family is immediately combined with an idea of industrial production of tableware. Thus begins the story of the company which stands out for the massive use of molds in the production of unexpected shapes and intense colours.
The exhibition is dedicated to the hundred years of this creativity, which winds along a chronological itinerary that reaches the present. Among gems not to be missed such as the service for the Vittoriale in black and coral red glass or the Rep, the official goblet of the tables of the Quirinale, up to the collaborations with Fabio Bortolani, Maria Grazia Rosin, Marco Zito, Matteo Zorzenoni.
Who will like it: those who love glass, its transparencies and its colors and those passionate about the history of Italian design.
Useful information: Glass Museum, Fondamenta Giustinian 8 Murano, Venice, open every day from 10am to 6pm.
Tungsten. Memories and false memories from the Careof Video Archive, Careof, Milan, until May 19
The starting point of this exhibition is the autobiographical novel Uncle Tungsten. Memories of a chemical childhood of the English neurologist Oliver Wolf Sacks.
An emblematic text because among the many facts the author recounts one that never happened but described with great precision in detail, just as if it were the memory of an experience.
Thus the exhibition analyzes, through the archive material of Careof (over 9 thousand titles), the theme of cryptomnesia, or the creation of a false memory which is however considered an original creation .
From Franco Vaccari to Marinella Senatore, from Luigi Viola to Micol Roubini, from Adrian Paci to Moira Ricci, over a period of fifty years, the exhibition presents the works of twenty-six artists who from the seventies to today describe how the memory and the archive are magmatic realities, fallible and above all living matter. On display period images, "found footage", "home movies" and the creation of "fiction".
Who will like it: cinema lovers, photography and visual poetry enthusiasts, anyone pursuing the planning of every creative form. Hurry, these are the last days to see it!
Useful information: Careof, Fabbrica del Vapore, via Procaccini 4, Milan, open from Tuesday to Saturday from 3pm to 7pm.
Hot Cities. Lessons from Arab Architecture, Vitra museum, Weil am Rhein, until 5 November
The German Vitra museum hosts an interesting architectural reasoning starting from climate change. More precisely, starting with the rise in temperatures.
How to resist in cities with temperatures decidedly above the average and which models to look at? The first answer is in a study of the cities of the Arabic-speaking world to understand how these and their inhabitants deal with the extreme heat of those regions and the second analyzes whether their architectural and urban design solutions can help us make our urban realities more resilient.
On display are case studies selected by curators Ahmed and Rashid bin Shabib, winners of the Golden Lion at the 2021 Venice Architecture Biennale for their contribution as authors of the book "Anatomy of Sabkhas". " Hot Cities" is a traveling archive of different architectural periods and styles, from ancient to contemporary.
Who will like it: the most curious, urban planning and construction techniques enthusiasts.
Useful information: Vitra Design Museum, Charles-Eames-Str. 2, D-79576 Weil am Rhein, open daily from 10am to 6pm.
Gian Maria Tosatti. Space #09 – I remember, Ciac Foligno, until July 2
“Never ask what contemporary art means. What does it mean? Nothing. It's like giving a kiss, it can mean nothing or many things, but nothing specific. Activate rather more. This work can be a different experience for everyone and the possibility of an exit from the system in which each of us lives and a return to something greater that is within ourselves".
So says Gian Maria Tosatti about his site specific installation Space #09 - I remember for the Ciac of Foligno.
In fact, in the main hall of the center for contemporary art, he exhibited a single work featuring luminous constellations. But this is already an interpretation, it would perhaps be more correct to speak of scattered sets of lights.
Whether they are constellations, lampposts, imaginary and imaginative realities halfway between dream and fantasy, between the imaginary and urban planning, the viewer will choose.
The artist, present at the Italian Pavilion of the 58th Venice Biennale and now with a solo exhibition at the Hangar Bicocca in Milan, inserts this work for Foligno in the cycle of reflections on the between man and his own existential path, which began with "Considerations on the intentions of my first communion remain a dead letter", from 2009.
Who will like it: those who love special effects, fairy tales, dreams, architecture and urban planning.
Useful information: Ciac - Italian Center for Contemporary Art, via del Campanile 13, Foligno, open from Thursday to Sunday from 10.30 -13 and 15.30 -19.
Ugo Marano. The rooms of utopia, Museo Madre, Naples, until May 31st
Home, Body, Time, Art, Writing, Nature, Bond: seven ideas that guide the public along the works of Ugo Marano in this Neapolitan exhibition that has utopia at its centre.
The result is an illuminating account of the artist and his working method, never chronological, rather thematic, narrated through over forty works, including sculptures, installations, drawings, paintings and artist's books, as well as a very special piece, Papà non c'è (1987) never exhibited outside the Capriglia home-studio.
Guiding his artistic expression is the bond with nature </ strong> which however serves to subvert the natural order of things, in a continuous game between known forms and disorientation.
Thus, for example Marano chooses ceramic to recreate the marine horizon, however giving life to the first anti-floor experiment. But the Campania tradition of ceramics is also at the center of his studies, especially in the shape of the vase (and the craftsmanship of Cetara).
Just like the chair, a privileged place, in its discomfort compared to the armchair, to come to terms with reality.
And then, writing and sharing are the other two essential tools of Marano's research which has made his two homes places of creative production and extraordinary encounters (where he experiences create works with a high level of irony, first of all the Psicocesso).
Who will like it: those who love thinking about the most elementary forms to give objects of daily use other values, perhaps useless, but extremely expressive. To those who think that design is inexorably intertwined with art.
Useful information: Madre, via Settembrini 79, Naples, open from Monday to Saturday from 10 to 19.30, Sunday until 20; Closed on Tuesday.