![]() ![]() In a popular uprising, they drove Vishkar out of their neighborhoods. ![]() He seized the Vishkar sonic technology that his father had helped develop-technology that was now being used to suppress the people-and converted it into a tool to rally them to action. Vishkar imposed controls on the residents in the name of building a more orderly society: enforcing curfews, cracking down on what the company perceived as lawless behavior, and exploiting the populace as a cheap labor force. However, that promise never became a reality. ![]() Lúcio and his neighbors had been told that the development would improve their lives. Flavia Frigeri.But Lúcio's close-knit community was thrown into chaos when the multinational Vishkar Corporation secured a contract to redevelop large tracts of the city. ‘Utopia’ is accompanied by an original publication with essays by Charles Zana and by the art historian Dr. Whether they are linked by a similar vision of time, a concern for the role of man in nature and space, or a shared poetic vocabulary that connects the profane and the sacred, these pairs of Italian architects and artists in this exhibition will reveal their extraordinary ability to disrupt the boundaries between art and design. Mario Ceroli will have a room dedicated to its art, at the frontier at the two disciplines. ‘Utopia’ brings to light for the first time the links between many artists and designers: Gino Sarfatti and Paolo Scheggi, Carlo Scarpa and Dadamaino, Enrico Castellani and Nanda Vigo, Michele de Lucchi and Alberto Burri, to name a few. His mise-en-scene creates imaginary scenarios, asking questions such as ‘What if Giorgio De Chirico and Ettore Sottsass spoke the same metaphysical language? Did Lucio Fontana and Carlo Mollino share a similar quest for the absolute?’ Zana transforms Tornabuoni Art’s historic Paris townhouse into a series of intimate salons that create art and design “couples”. “This incredible creative effervescence of artists and architects in the aftermath of World War II gave birth to visionary forms that had never been seen before and I dreamed of this as utopia.” Through around forty pairings of works of art and design, where furniture, painting and sculpture will be in dialogue, ‘Utopia’ offers an original exploration of the relationships between the greatest Italian artists and architects from the 1950s to the 1970s to reveal the common aspirations and experimental spirit of this visionary generation who sought to reimagine Italy in the decades following the War. “In ‘Utopia’ I want to show how the different Italian avant-garde movements disrupted the history of art and design in the 20th century,” says Zana. This iconic lamp - shaped like a frame - transforms the empty space at its heart into a picture made of light. This dialogue unfolds room by room in the show, whose name is inspired by the ‘Utopia’ lamp created by the architect Nanda Vigo in 1970. This exhibition, designed and conceived by the architect Charles Zana in collaboration with Tornabuoni Art, is based on the idea of dialogue, like previous exhibitions designed by the architect. To coincide with the opening of the FIAC 2019, the architect Charles Zana and Tornabuoni Art inaugurate ‘Utopia’, an exhibition that creates connections between post-war Italian art and design. It is particularly interesting to observe the creative pollination between art and design during this fundamental period in the Italian art history, as artists, beyond their field of work, tried to create new worlds on the ashes of the old, with a visionary optimism in futuristic modernity that remains influential today. Continuing its program of collective exhibitions devoted to the Italian cultural panorama from the 1950s to the 1980s, Tornabuoni Art will be the stage of an imaginary dialogue between artists and designers who, despite their different upbringings, ambitions and conceptual investigations, remain connected by creative synergies. ![]()
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