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They graduated from Design Academy Eindhoven in 2009, and their work focuses on experimental material research and the transformation of natural resources into commodities. They collaborate with brands like Fendi, Hermès, and Flos, blending craft and industry. Their designs are in prestigious museums such as MoMA, V&A, and the Centre Georges Pompidou. Formafantasma lectures internationally and leads workshops, including a new Masters program in “GEODESIGN” at Design Academy Eindhoven. They were named Wallpaper* Designer of the Year in 2021.",[],[102,110,118,126,134,142],{"_key":103,"_type":8,"children":104,"markDefs":109,"style":25},"66e13ac17b07",[105],{"_key":106,"_type":12,"marks":107,"text":108},"e81a75d76aa2",[],"Andrea Trimarchi (1983) and Simone Farresin (1980) are Formafantasma, an Italian design duo based in Milano. Their interest in product design developed on the IM master course at Design Academy Eindovhen, where they graduated in July 2009.",[],{"_key":111,"_type":8,"children":112,"markDefs":117,"style":25},"01537ad2e9eb",[113],{"_key":114,"_type":12,"marks":115,"text":116},"679bb471f0be",[],"Since then, Formafantasma’s practice has been characterised by experimental material investigations and detailed explorations of the history, context and implications of the transformation of natural resources into commodities. In perceiving their role as a bridge between craft, industry, object and user, they are interested in forging links between their research-based practice and a wider design industry. As a result, works by Formafantasma have been commisioned by a variety of partners including Fendi, Max Mara – Sportmax, Hermès, Droog, Nudus rug, J&L Lobmeyr, Gallery Libby Sellers, Established and Sons, Lexus, Krizia International and Flos., Gallery Giustini / Stagetti Roma.",[],{"_key":119,"_type":8,"children":120,"markDefs":125,"style":25},"cc0ff53e39bd",[121],{"_key":122,"_type":12,"marks":123,"text":124},"3763aea84e34",[],"Wheter designing for a client or investigating alternative applications of materials, Formafantasma apply the same rigouros attention to context, process and detail to every project the undertake. The added nuance for the duo is that they do so with an eye to the historical, political and social forces that have shaped their environments.",[],{"_key":127,"_type":8,"children":128,"markDefs":133,"style":25},"15e233d752f5",[129],{"_key":130,"_type":12,"marks":131,"text":132},"d36c25e161c4",[],"Their work has been presented and published internationally and museums such as New York’s MoMA, London’s Victoria and Albert, New York’s Metropolitan Museum, the Chicago Art Institute, Paris’s Centre Georges Pompidou, the TextielMuseum in Tilburg, the Stedelijk’s-Hertogenbosch, the Stedelijk Museum Amsterdam, Mudac Lausanne, the Mint Museum of Craft and Design in North Carolina and the MAK Museum in Vienna have all acquired Formafantasma’s designs for their permanent collections.",[],{"_key":135,"_type":8,"children":136,"markDefs":141,"style":25},"7486803768d5",[137],{"_key":138,"_type":12,"marks":139,"text":140},"2f29b09c6960",[],"In March 2011 Paola Antonelli of the Museum of Modern Art in New York and esteemed design critic Alice Rawsthorn listed their studio amongst a handful of practices that would shape the future of design. Andrea and Simone are lecturing and heading workshops in various Universities and Institutions. Currently they are teaching at the “Well Being” and “Contextual Design” Departments of the Design Academy Eindhoven. This exhibition will become the foundation of the new Masters programme that Formafantasma are leading from autumn 2020 at the design Academy Eindhoven, titled “GEODESIGN”. Since October 2016, they have been at the head of the Design bachelor at MADE Program in Siracusa, Italy.",[],{"_key":143,"_type":8,"children":144,"markDefs":149,"style":25},"af1f9684422b",[145],{"_key":146,"_type":12,"marks":147,"text":148},"5d01da72a08f",[],"Formafantasma has been awarded Wallpaper* Designer of the Year 2021.",[],[151,158],{"_key":152,"_type":8,"children":153,"markDefs":157,"style":25},"d23635d39c06",[154],{"_key":155,"_type":12,"marks":156,"text":69},"e086f264d4c9",[],[],{"_key":159,"_type":8,"children":160,"markDefs":165,"style":25},"b64f02da9df2",[161],{"_key":162,"_type":12,"marks":163,"text":164},"2529a373ea27",[],"Andrea Trimarchi (Bolzano, 1983) and Simone Farresin (Malo, 1980)",[],[167,405,542,698,848,965,1106,1209],{"_id":168,"_type":169,"authors":170,"dates":229,"featuredImages":232,"location":248,"pageBuilder":249,"seo":46,"slug":402,"title":404},"b42dbf27-5070-40b3-b914-bde314fff329","exhibition",[171],{"_id":65,"_type":66,"bioExtended":172,"bioFull":178,"bioShort":209,"profileImage":220,"seo":46,"slug":228,"sortValue":68,"title":69},[173],{"_key":94,"_type":8,"children":174,"markDefs":177,"style":25},[175],{"_key":97,"_type":12,"marks":176,"text":99},[],[],[179,184,189,194,199,204],{"_key":103,"_type":8,"children":180,"markDefs":183,"style":25},[181],{"_key":106,"_type":12,"marks":182,"text":108},[],[],{"_key":111,"_type":8,"children":185,"markDefs":188,"style":25},[186],{"_key":114,"_type":12,"marks":187,"text":116},[],[],{"_key":119,"_type":8,"children":190,"markDefs":193,"style":25},[191],{"_key":122,"_type":12,"marks":192,"text":124},[],[],{"_key":127,"_type":8,"children":195,"markDefs":198,"style":25},[196],{"_key":130,"_type":12,"marks":197,"text":132},[],[],{"_key":135,"_type":8,"children":200,"markDefs":203,"style":25},[201],{"_key":138,"_type":12,"marks":202,"text":140},[],[],{"_key":143,"_type":8,"children":205,"markDefs":208,"style":25},[206],{"_key":146,"_type":12,"marks":207,"text":148},[],[],[210,215],{"_key":152,"_type":8,"children":211,"markDefs":214,"style":25},[212],{"_key":155,"_type":12,"marks":213,"text":69},[],[],{"_key":159,"_type":8,"children":216,"markDefs":219,"style":25},[217],{"_key":162,"_type":12,"marks":218,"text":164},[],[],{"alt":46,"asset":221},{"_id":222,"height":223,"orientation":224,"ratio":225,"url":226,"width":227},"image-f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900-jpg",900,"portrait",0.6666666666666666,"https://cdn.sanity.io/images/w19bax1v/production/f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900.jpg",600,{"_type":51,"current":68},{"end":230,"start":231},"2025-09-28","2025-05-08",{"landingImage":233,"thumbnailImage":240},{"alt":46,"asset":234},{"_id":235,"height":236,"orientation":224,"ratio":237,"url":238,"width":239},"image-4b85937f51376e64f20b0d02dfcbab1b444bf249-4125x5500-tif",5500,0.75,"https://cdn.sanity.io/images/w19bax1v/production/4b85937f51376e64f20b0d02dfcbab1b444bf249-4125x5500.tif",4125,{"alt":46,"asset":241},{"_id":242,"height":243,"orientation":244,"ratio":245,"url":246,"width":247},"image-0a9496b72b83b5dd1a4135f375bda2ccf2798626-4122x3092-jpg",3092,"landscape",1.333117723156533,"https://cdn.sanity.io/images/w19bax1v/production/0a9496b72b83b5dd1a4135f375bda2ccf2798626-4122x3092.jpg",4122,"Negozio Olivetti",[250,270,370,387],{"_type":251,"caption":252,"image":262,"settings":268},"imageBlock",[253],{"_key":254,"_type":8,"children":255,"markDefs":261,"style":25},"a4b6bc0e9be8",[256],{"_key":257,"_type":12,"marks":258,"text":260},"498fe219aa81",[259],"highlight","Photo credit: Marco Cappelletti",[],{"alt":46,"asset":263},{"_id":264,"height":265,"orientation":224,"ratio":225,"url":266,"width":267},"image-a23f064e32d7d18749028a82b58b082182ffff3c-6336x9504-tif",9504,"https://cdn.sanity.io/images/w19bax1v/production/a23f064e32d7d18749028a82b58b082182ffff3c-6336x9504.tif",6336,{"imageSize":269},"default",{"_type":271,"text":272},"textBlock",[273,281,290,298,306,314,322,330,338,346,354,362],{"_key":274,"_type":8,"children":275,"markDefs":280,"style":25},"7ed25df56626",[276],{"_key":277,"_type":12,"marks":278,"text":279},"3cac95ef18ef",[],"",[],{"_key":282,"_type":8,"children":283,"markDefs":288,"style":289},"b1d1746f6d59",[284],{"_key":285,"_type":12,"marks":286,"text":287},"6a13d8c83db7",[],"On the occasion of the 2025 Venice Architecture Biennale, FAI – the Italian National Trust – is pleased to announce the exhibition “The Shape of Things to Come” by the designer duo Formafantasma, curated by Bartolomeo Pietromarchi and hosted at the Olivetti Store in Piazza San Marco.",[],"blockquote",{"_key":291,"_type":8,"children":292,"markDefs":297,"style":289},"b864879bcd94",[293],{"_key":294,"_type":12,"marks":295,"text":296},"5445122e4184",[],"\nThe exhibition is closely intertwined with the space designed by Carlo Scarpa – a masterpiece of modern architecture – and with the history of Olivetti, a company symbolic of technological innovation, cutting-edge design, and social commitment. The project aligns with the thematic framework of the Biennale, exploring the intersections between architecture, technology, and science, while offering a reflection on FAI’s core values, including the protection of heritage and the environment, in a particularly significant year for the institution as it celebrates 50 years of activity.",[],{"_key":299,"_type":8,"children":300,"markDefs":305,"style":289},"71a890f06f31",[301],{"_key":302,"_type":12,"marks":303,"text":304},"96a3668e1242",[],"\nAs curator Bartolomeo Pietromarchi states:",[],{"_key":307,"_type":8,"children":308,"markDefs":313,"style":289},"e80fc95573b3",[309],{"_key":310,"_type":12,"marks":311,"text":312},"16d016b02432",[],"\n“I believe the project presents a truly fascinating tension between the content and the container of the exhibition. On one hand, we have the ephemeral logic of planned obsolescence – the concept upon which Formafantasma developed this project and its new ceramic and gold works; on the other, Scarpa’s architecture and Olivetti’s products, which share a philosophy of durability, aesthetics, and social value through materials and design solutions intended to endure over time.”",[],{"_key":315,"_type":8,"children":316,"markDefs":321,"style":289},"4ebf22649258",[317],{"_key":318,"_type":12,"marks":319,"text":320},"7480d942e45c",[],"\nA New Chapter of Ore Streams",[],{"_key":323,"_type":8,"children":324,"markDefs":329,"style":289},"c24b7ab823fd",[325],{"_key":326,"_type":12,"marks":327,"text":328},"feed5126b09d",[],"\nThe starting point for the Venice exhibition is Ore Streams, a project launched by Formafantasma in 2017, focused on recycling waste from the electronics industry, now revisited and expanded in a new chapter. Through a series of design objects, documentary videos, and 3D animations, the exhibition addresses the environmental impact of the tech sector from multiple perspectives, emphasizing the role of design as a tool for transformation and awareness.",[],{"_key":331,"_type":8,"children":332,"markDefs":337,"style":289},"5fd42d4a2c41",[333],{"_key":334,"_type":12,"marks":335,"text":336},"fc6ff1111b92",[],"\n“The Shape of Things to Come” draws inspiration from the famous science fiction novel by H.G. Wells, offering a vision for the future of design where recycling, environmental and social impact, durability, and resource management are central and no longer overlooked. The project aims to raise awareness of the fact that the electronics industry is not an abstract or immaterial entity confined to the cloud, but a concrete and highly impactful supply chain, with tangible effects on the environment.",[],{"_key":339,"_type":8,"children":340,"markDefs":345,"style":289},"32502aaf4f6f",[341],{"_key":342,"_type":12,"marks":343,"text":344},"4be166feac0a",[],"\nOne of the key themes of the exhibition is planned obsolescence – a strategy that intentionally limits a product’s lifespan to encourage replacement, often at the expense of the consumer. This phenomenon, now dominant in the electronics sector, contrasts sharply with Olivetti’s design philosophy, which has always promoted quality, durability, and the cultural value of objects. The Olivetti Store thus becomes an ideal place to reflect on this dichotomy, embodying an alternative vision in which design is conceived to withstand the test of time.",[],{"_key":347,"_type":8,"children":348,"markDefs":353,"style":289},"e3cda5777b89",[349],{"_key":350,"_type":12,"marks":351,"text":352},"bbedfa370c7c",[],"\nAs Formafantasma notes:",[],{"_key":355,"_type":8,"children":356,"markDefs":361,"style":289},"45b13515dd16",[357],{"_key":358,"_type":12,"marks":359,"text":360},"da084f43dc17",[],"\n“From this perspective, it’s not just an aesthetic or functional gesture, but a critical act. It’s as if every object created or reinterpreted for this project becomes a carrier of memory, capable of narrating a journey – of use, reuse, and transformation – that subverts the traditional paradigm of consumption and disposal.”",[],{"_key":363,"_type":8,"children":364,"markDefs":369,"style":289},"b294d3a66685",[365],{"_key":366,"_type":12,"marks":367,"text":368},"9f0e9ab97c17",[],"\nFormafantasma’s installation, in perfect harmony with the historical and architectural context of the Olivetti Store, offers an opportunity to rethink our relationship with technology and resources, opening up new perspectives on how to design the future in a more responsible and sustainable way.",[],{"_type":251,"caption":371,"image":379,"settings":386},[372],{"_key":373,"_type":8,"children":374,"markDefs":378,"style":25},"585ba08e28fb",[375],{"_key":376,"_type":12,"marks":377,"text":260},"b0dc0cf1d98f",[259],[],{"alt":46,"asset":380},{"_id":381,"height":382,"orientation":224,"ratio":383,"url":384,"width":385},"image-1bb83c1808a4bf66b00fdb7cf1f25eef079d6d4b-5588x7450-jpg",7450,0.7500671140939598,"https://cdn.sanity.io/images/w19bax1v/production/1bb83c1808a4bf66b00fdb7cf1f25eef079d6d4b-5588x7450.jpg",5588,{"imageSize":269},{"_type":251,"caption":388,"image":396,"settings":401},[389],{"_key":390,"_type":8,"children":391,"markDefs":395,"style":25},"4ea7ddaa5482",[392],{"_key":393,"_type":12,"marks":394,"text":260},"d9a5c222129d",[259],[],{"alt":46,"asset":397},{"_id":398,"height":399,"orientation":224,"ratio":237,"url":400,"width":267},"image-4764e2232558064a7c9d6932a837ed4c8af120bb-6336x8448-tif",8448,"https://cdn.sanity.io/images/w19bax1v/production/4764e2232558064a7c9d6932a837ed4c8af120bb-6336x8448.tif",{"imageSize":269},{"_type":51,"current":403},"the-shape-of-things-to-come-venice","The shape of things to come, Venice",{"_id":406,"_type":169,"authors":407,"dates":460,"featuredImages":463,"location":478,"pageBuilder":479,"seo":46,"slug":539,"title":541},"3d5a18ce-3608-4fe1-accc-a99c7e68ec63",[408],{"_id":65,"_type":66,"bioExtended":409,"bioFull":415,"bioShort":446,"profileImage":457,"seo":46,"slug":459,"sortValue":68,"title":69},[410],{"_key":94,"_type":8,"children":411,"markDefs":414,"style":25},[412],{"_key":97,"_type":12,"marks":413,"text":99},[],[],[416,421,426,431,436,441],{"_key":103,"_type":8,"children":417,"markDefs":420,"style":25},[418],{"_key":106,"_type":12,"marks":419,"text":108},[],[],{"_key":111,"_type":8,"children":422,"markDefs":425,"style":25},[423],{"_key":114,"_type":12,"marks":424,"text":116},[],[],{"_key":119,"_type":8,"children":427,"markDefs":430,"style":25},[428],{"_key":122,"_type":12,"marks":429,"text":124},[],[],{"_key":127,"_type":8,"children":432,"markDefs":435,"style":25},[433],{"_key":130,"_type":12,"marks":434,"text":132},[],[],{"_key":135,"_type":8,"children":437,"markDefs":440,"style":25},[438],{"_key":138,"_type":12,"marks":439,"text":140},[],[],{"_key":143,"_type":8,"children":442,"markDefs":445,"style":25},[443],{"_key":146,"_type":12,"marks":444,"text":148},[],[],[447,452],{"_key":152,"_type":8,"children":448,"markDefs":451,"style":25},[449],{"_key":155,"_type":12,"marks":450,"text":69},[],[],{"_key":159,"_type":8,"children":453,"markDefs":456,"style":25},[454],{"_key":162,"_type":12,"marks":455,"text":164},[],[],{"alt":46,"asset":458},{"_id":222,"height":223,"orientation":224,"ratio":225,"url":226,"width":227},{"_type":51,"current":68},{"end":461,"start":462},"2024-11-07","2024-10-03",{"landingImage":464,"thumbnailImage":471},{"alt":46,"asset":465},{"_id":466,"height":467,"orientation":224,"ratio":468,"url":469,"width":470},"image-4abb6ed505c06ad3c962c9a820d484846b060673-3645x4184-jpg",4184,0.8711759082217974,"https://cdn.sanity.io/images/w19bax1v/production/4abb6ed505c06ad3c962c9a820d484846b060673-3645x4184.jpg",3645,{"alt":46,"asset":472},{"_id":473,"height":474,"orientation":244,"ratio":475,"url":476,"width":477},"image-4c7047ccd8e82bc2e1526c40c8384b7e091be218-4951x3301-jpg",3301,1.499848530748258,"https://cdn.sanity.io/images/w19bax1v/production/4c7047ccd8e82bc2e1526c40c8384b7e091be218-4951x3301.jpg",4951,"Galleria Giustini / Stagetti",[480,530],{"_type":271,"text":481},[482,490,498,506,514,522],{"_key":483,"_type":8,"children":484,"markDefs":489,"style":25},"48202aec4fc1",[485],{"_key":486,"_type":12,"marks":487,"text":488},"1cd031447cfa",[],"Galleria Giustini / Stagetti presents the exhibition Formafantasma. \"La casa dentro\" (The Home Within), the result of the duo of designers' latest research on the idea of the home, explored as a physical space and as a complex set of human relationships and themes linked to personal identity and collective memory.",[],{"_key":491,"_type":8,"children":492,"markDefs":497,"style":25},"42c077e07256",[493],{"_key":494,"_type":12,"marks":495,"text":496},"300af82173ef",[],"The title of the exhibition, “La casa dentro”, refers to an introspective vision of the domestic environment, where psychological and emotional nuances intersect. Starting from memories of their own childhood homes, populated by decorative elements and handmade objects, Formafantasma sets up a critical reading of the ideological dogmas inherited from Modernism, which identified rationality and sobriety as components to be promoted, as opposed to ornamental tensions. Drawing inspiration from their own education, Formafantasma challenges the concept of canon which, in its masculine vision as an extension of rationality, tends to erase from living space the sentimental elements and decorative features that can create a dimension of domesticity.",[],{"_key":499,"_type":8,"children":500,"markDefs":505,"style":25},"91b872bccd29",[501],{"_key":502,"_type":12,"marks":503,"text":504},"4c63aae29ca2",[],"Formafantasma explains in a dense conversation with curator Alberto Salvadori: \"We wanted to depart from this staple of modern design and to stress its implicit ideologies by pairing it with decorative patterns either painted or embroidered. This isn't a postmodern pastiche, neither an ode to campness nor to kitsch. It is a romantic attempt to dignify personal memories and what is often culturally vilified, the decorative, the cute and, by extension of meaning, the feminine.\"",[],{"_key":507,"_type":8,"children":508,"markDefs":513,"style":25},"d8b4da9199e9",[509],{"_key":510,"_type":12,"marks":511,"text":512},"e640f569d4de",[],"\"La casa dentro\" populates the spaces of the gallery with limited edition works (seating, furniture, lamps) where a founding element of the modernist tradition, the metal tube, intersects with purely ornamental objects and motifs. The rationality of curved steel is enriched with wooden planks decorated with hand-painted floral motifs, handmade embroidery and silk ruffles, defining a hybrid environment that combines personal memories and the intellectual heritage of architecture and design.",[],{"_key":515,"_type":8,"children":516,"markDefs":521,"style":25},"2d1b776299f9",[517],{"_key":518,"_type":12,"marks":519,"text":520},"c0bf4a7bec66",[],"In a particularly intimate and personal approach, Formafantasma manipulates the codes of modernist design to construct an original reflection on memory. \"La casa dentro\" gives back the visitor a narrative dedicated to what has been lost, erased and at risk of extinction, punctuated at times with disturbing muses linked to the immobility of objects and the unconscious certainty that they will outlive the human beings who created them.",[],{"_key":523,"_type":8,"children":524,"markDefs":529,"style":25},"207899be310c",[525],{"_key":526,"_type":12,"marks":527,"text":528},"3693af2496ed",[],"On the occasion of the opening, the collection's catalog has been presented, featuring a critical essay by Alessandro Rabottini and an interview by Alberto Salvadori.",[],{"_type":251,"caption":46,"image":531,"settings":538},{"alt":46,"asset":532},{"_id":533,"height":534,"orientation":224,"ratio":535,"url":536,"width":537},"image-0d2ff63a20d36d30af2bbb3d98a2b90bd099a7cf-3565x5347-jpg",5347,0.6667290069197681,"https://cdn.sanity.io/images/w19bax1v/production/0d2ff63a20d36d30af2bbb3d98a2b90bd099a7cf-3565x5347.jpg",3565,{"imageSize":269},{"_type":51,"current":540},"la-casa-dentro-rome","La Casa Dentro, Rome",{"_id":543,"_type":169,"authors":544,"dates":597,"featuredImages":600,"location":615,"pageBuilder":616,"seo":46,"slug":695,"title":697},"1e4f14b9-6a17-43ea-9e90-89d9488f5e08",[545],{"_id":65,"_type":66,"bioExtended":546,"bioFull":552,"bioShort":583,"profileImage":594,"seo":46,"slug":596,"sortValue":68,"title":69},[547],{"_key":94,"_type":8,"children":548,"markDefs":551,"style":25},[549],{"_key":97,"_type":12,"marks":550,"text":99},[],[],[553,558,563,568,573,578],{"_key":103,"_type":8,"children":554,"markDefs":557,"style":25},[555],{"_key":106,"_type":12,"marks":556,"text":108},[],[],{"_key":111,"_type":8,"children":559,"markDefs":562,"style":25},[560],{"_key":114,"_type":12,"marks":561,"text":116},[],[],{"_key":119,"_type":8,"children":564,"markDefs":567,"style":25},[565],{"_key":122,"_type":12,"marks":566,"text":124},[],[],{"_key":127,"_type":8,"children":569,"markDefs":572,"style":25},[570],{"_key":130,"_type":12,"marks":571,"text":132},[],[],{"_key":135,"_type":8,"children":574,"markDefs":577,"style":25},[575],{"_key":138,"_type":12,"marks":576,"text":140},[],[],{"_key":143,"_type":8,"children":579,"markDefs":582,"style":25},[580],{"_key":146,"_type":12,"marks":581,"text":148},[],[],[584,589],{"_key":152,"_type":8,"children":585,"markDefs":588,"style":25},[586],{"_key":155,"_type":12,"marks":587,"text":69},[],[],{"_key":159,"_type":8,"children":590,"markDefs":593,"style":25},[591],{"_key":162,"_type":12,"marks":592,"text":164},[],[],{"alt":46,"asset":595},{"_id":222,"height":223,"orientation":224,"ratio":225,"url":226,"width":227},{"_type":51,"current":68},{"end":598,"start":599},"2024-04-14","2024-04-08",{"landingImage":601,"thumbnailImage":608},{"alt":46,"asset":602},{"_id":603,"height":604,"orientation":224,"ratio":605,"url":606,"width":607},"image-8ff549d0d6f19d9cc039179943cef0f04293d69b-531x797-jpg",797,0.6662484316185696,"https://cdn.sanity.io/images/w19bax1v/production/8ff549d0d6f19d9cc039179943cef0f04293d69b-531x797.jpg",531,{"alt":46,"asset":609},{"_id":610,"height":611,"orientation":244,"ratio":612,"url":613,"width":614},"image-011dcca9bdd4920aecffb2f313582100c2137809-7522x5017-tif",5017,1.4993023719354195,"https://cdn.sanity.io/images/w19bax1v/production/011dcca9bdd4920aecffb2f313582100c2137809-7522x5017.tif",7522,"ICA",[617,674],{"_type":271,"text":618},[619,627,635,643,650,658,666],{"_key":620,"_type":8,"children":621,"markDefs":626,"style":25},"dddd21c7c330",[622],{"_key":623,"_type":12,"marks":624,"text":625},"8ccefe409f0b",[],"Fondazione ICA Milano presents the unprecedented exhibition project by designers Formafantasma entitled 'La Casa Dentro' (The Home Within) curated by Alberto Salvadori.",[],{"_key":628,"_type":8,"children":629,"markDefs":634,"style":25},"c060f186427b",[630],{"_key":631,"_type":12,"marks":632,"text":633},"7c39e340e5fa",[],"The exhibition is set up on the first floor of the Fondazione and presents a selection of newly produced works. The exhibition constructs a delicate reflection focused on the idea of the home, explored as a physical space and as a complex set of human relationships and themes linked to personal identity and collective memory.",[],{"_key":636,"_type":8,"children":637,"markDefs":642,"style":25},"4356c2599c96",[638],{"_key":639,"_type":12,"marks":640,"text":641},"7ecb77d74add",[],"The title of the exhibition refers to an introspective vision of the domestic environment, where psychological and emotional nuances intersect. Starting from memories of their own childhood homes, populated by decorative elements and handmade objects, Formafantasma sets up a critical reading of the ideological dogmas inherited from Modernism, which identified rationality and sobriety as components to be promoted, as opposed to ornamental tensions. Drawing inspiration from their own education, Formafantasma challenges the concept of canon which, in its masculine vision as an extension of rationality, tends to erase from living space the sentimental elements and decorative features that can create a dimension of domesticity.",[],{"_key":644,"_type":8,"children":645,"markDefs":649,"style":25},"bd313ae0a837",[646],{"_key":647,"_type":12,"marks":648,"text":504},"1e687f9f9eb0",[],[],{"_key":651,"_type":8,"children":652,"markDefs":657,"style":25},"0c2f6e9df2a2",[653],{"_key":654,"_type":12,"marks":655,"text":656},"6eeee1eca14a",[],"'La Casa Dentro' populates the spaces of Fondazione ICA Milano with works where a founding element of the modernist tradition, the metal tube, intersects with purely ornamental objects and motifs. The rationality of curved steel is enriched with wooden planks decorated with handmade embroidery, painted floral motifs and silk ruffles, defining a hybrid environment that combines personal memories and the intellectual heritage of architecture and design.",[],{"_key":659,"_type":8,"children":660,"markDefs":665,"style":25},"89e665e88ae5",[661],{"_key":662,"_type":12,"marks":663,"text":664},"b84ef9dce3f5",[],"In a particularly intimate and personal approach, Formafantasma manipulates the codes of modernist design to construct an original reflection on memory. 'La Casa Dentro' gives back the visitor a narrative dedicated to what has been lost, erased and at risk of extinction, punctuated at times with disturbing muses linked to the immobility of objects and the unconscious certainty that they will outlive the human beings who created them.",[],{"_key":667,"_type":8,"children":668,"markDefs":673,"style":25},"fbaaa37251f6",[669],{"_key":670,"_type":12,"marks":671,"text":672},"88fc534cfe63",[],"'La Casa Dentro' collection is edited by Galleria Giustini / Stagetti, Roma.",[],{"_type":675,"images":676,"settings":46},"imagesBlock",[677,684,688],{"alt":46,"asset":678},{"_id":679,"height":680,"orientation":224,"ratio":681,"url":682,"width":683},"image-8abd0e318b6caed8bbac0d321c515dfb22280a92-853x1280-jpg",1280,0.66640625,"https://cdn.sanity.io/images/w19bax1v/production/8abd0e318b6caed8bbac0d321c515dfb22280a92-853x1280.jpg",853,{"alt":46,"asset":685},{"_id":686,"height":680,"orientation":224,"ratio":681,"url":687,"width":683},"image-2cb623a33f7cf7f3ef2321038fac39808b48c59d-853x1280-jpg","https://cdn.sanity.io/images/w19bax1v/production/2cb623a33f7cf7f3ef2321038fac39808b48c59d-853x1280.jpg",{"alt":46,"asset":689},{"_id":690,"height":691,"orientation":224,"ratio":692,"url":693,"width":694},"image-429d524534700f4b5019600776d660991f0d9932-5205x7466-jpg",7466,0.6971604607554246,"https://cdn.sanity.io/images/w19bax1v/production/429d524534700f4b5019600776d660991f0d9932-5205x7466.jpg",5205,{"_type":51,"current":696},"la-casa-dentro-milan","La Casa Dentro, Milan",{"_id":699,"_type":169,"authors":700,"dates":753,"featuredImages":756,"location":478,"pageBuilder":768,"seo":46,"slug":845,"title":847},"6d54b068-9756-4e71-a5f5-b104ef2dfcec",[701],{"_id":65,"_type":66,"bioExtended":702,"bioFull":708,"bioShort":739,"profileImage":750,"seo":46,"slug":752,"sortValue":68,"title":69},[703],{"_key":94,"_type":8,"children":704,"markDefs":707,"style":25},[705],{"_key":97,"_type":12,"marks":706,"text":99},[],[],[709,714,719,724,729,734],{"_key":103,"_type":8,"children":710,"markDefs":713,"style":25},[711],{"_key":106,"_type":12,"marks":712,"text":108},[],[],{"_key":111,"_type":8,"children":715,"markDefs":718,"style":25},[716],{"_key":114,"_type":12,"marks":717,"text":116},[],[],{"_key":119,"_type":8,"children":720,"markDefs":723,"style":25},[721],{"_key":122,"_type":12,"marks":722,"text":124},[],[],{"_key":127,"_type":8,"children":725,"markDefs":728,"style":25},[726],{"_key":130,"_type":12,"marks":727,"text":132},[],[],{"_key":135,"_type":8,"children":730,"markDefs":733,"style":25},[731],{"_key":138,"_type":12,"marks":732,"text":140},[],[],{"_key":143,"_type":8,"children":735,"markDefs":738,"style":25},[736],{"_key":146,"_type":12,"marks":737,"text":148},[],[],[740,745],{"_key":152,"_type":8,"children":741,"markDefs":744,"style":25},[742],{"_key":155,"_type":12,"marks":743,"text":69},[],[],{"_key":159,"_type":8,"children":746,"markDefs":749,"style":25},[747],{"_key":162,"_type":12,"marks":748,"text":164},[],[],{"alt":46,"asset":751},{"_id":222,"height":223,"orientation":224,"ratio":225,"url":226,"width":227},{"_type":51,"current":68},{"end":754,"start":755},"2023-04-07","2023-03-11",{"landingImage":757,"thumbnailImage":763},{"alt":46,"asset":758},{"_id":759,"height":760,"orientation":224,"ratio":225,"url":761,"width":762},"image-47aebef42bffd33f01545c85e55ce34f38e54619-3648x5472-jpg",5472,"https://cdn.sanity.io/images/w19bax1v/production/47aebef42bffd33f01545c85e55ce34f38e54619-3648x5472.jpg",3648,{"alt":46,"asset":764},{"_id":765,"height":762,"orientation":244,"ratio":766,"url":767,"width":760},"image-23c3916ed69d644a6cbfcc91c5edabd87dfe9e67-5472x3648-jpg",1.5,"https://cdn.sanity.io/images/w19bax1v/production/23c3916ed69d644a6cbfcc91c5edabd87dfe9e67-5472x3648.jpg",[769,836],{"_type":271,"text":770},[771,779,796,804,812,820,828],{"_key":772,"_type":8,"children":773,"markDefs":778,"style":25},"c07c3b6138ca",[774],{"_key":775,"_type":12,"marks":776,"text":777},"74df7b8c40ef",[],"Giustini / Stagetti is pleased to present, at the gallery’s new venue in Via Gregoriana, the 1858 furniture collection designed by Formafantasma.",[],{"_key":780,"_type":8,"children":781,"markDefs":795,"style":25},"cc74470aa7ae",[782,786,791],{"_key":783,"_type":12,"marks":784,"text":785},"635d7ac858f1",[],"The pieces were first shown at their solo exhibition ",{"_key":787,"_type":12,"marks":788,"text":790},"c4b148330f6f",[789],"em","Cambio",{"_key":792,"_type":12,"marks":793,"text":794},"01d9d252865c",[],", which was held at the Serpentine Galleries in London (2020). Subsequently, it was shown at the Centro Pecci per l’Arte Contemporanea in Prato and at the Museum für Gestaltung in Zürich (2021).",[],{"_key":797,"_type":8,"children":798,"markDefs":803,"style":25},"5d13d8b8a978",[799],{"_key":800,"_type":12,"marks":801,"text":802},"6de201f76e7a",[],"The exhibition focused on the investigation of the timber industry’s supply chains and, more generally, explored the role that design can play in translating the themes of environmental crisis into awareness, information exchange, and collaboration between various cultural and scientific fields.",[],{"_key":805,"_type":8,"children":806,"markDefs":811,"style":25},"e9a33f817347",[807],{"_key":808,"_type":12,"marks":809,"text":810},"e6f0affc0b8f",[],"The 1858 collection (a table, a bookshelf, shelves, consoles, a chair, a bench, a desk and a stool) is made of solid spruce, sourced from the Fiemme Valley forest in Northern Italy, an area that was devastated by the storm Vaia in October 2018.",[],{"_key":813,"_type":8,"children":814,"markDefs":819,"style":25},"fa01b6ad0778",[815],{"_key":816,"_type":12,"marks":817,"text":818},"1e32e537259f",[],"For the prototypes, the wood of a single spruce tree - just one of approximately fourteen million uprooted by the catastrophic storm - was used.",[],{"_key":821,"_type":8,"children":822,"markDefs":827,"style":25},"2029ddbba036",[823],{"_key":824,"_type":12,"marks":825,"text":826},"ac7d88776fd2",[],"The title of the collection, 1858, refers to the year this tree developed its first ring. The pieces are characterized by an extremely concise and simple construction, as well as by a geometric virtuosity. By this, we mean that, if on the one hand they represent the minimalistic aesthetics of the 20th century masters, then on the other hand, they can be distinguished by their versatile formal sleekness, typical of contemporary design.",[],{"_key":829,"_type":8,"children":830,"markDefs":835,"style":25},"484c2bce8202",[831],{"_key":832,"_type":12,"marks":833,"text":834},"7b0667dd1123",[],"The designers were able to give a particularly transparent and glossy finish to the furnishings by using a lacquering process traditionally used in the construction of musical instruments. This lacquering process allows the grain of the wood to show through, while also making quite tough exteriors. In fact, Stradivari violins even use the same type of wood from the Fiemme Valley.",[],{"_type":251,"caption":46,"image":837,"settings":844},{"alt":46,"asset":838},{"_id":839,"height":840,"orientation":224,"ratio":841,"url":842,"width":843},"image-9594a420c1c76b721617f74e6f04abd47580cd0c-3355x5033-jpg",5033,0.6666004371150407,"https://cdn.sanity.io/images/w19bax1v/production/9594a420c1c76b721617f74e6f04abd47580cd0c-3355x5033.jpg",3355,{"imageSize":269},{"_type":51,"current":846},"1858-rome","1858, Rome",{"_id":849,"_type":169,"authors":850,"dates":903,"featuredImages":906,"location":920,"pageBuilder":921,"seo":46,"slug":962,"title":964},"526ea3b4-24db-4d72-93d8-53ba853d791a",[851],{"_id":65,"_type":66,"bioExtended":852,"bioFull":858,"bioShort":889,"profileImage":900,"seo":46,"slug":902,"sortValue":68,"title":69},[853],{"_key":94,"_type":8,"children":854,"markDefs":857,"style":25},[855],{"_key":97,"_type":12,"marks":856,"text":99},[],[],[859,864,869,874,879,884],{"_key":103,"_type":8,"children":860,"markDefs":863,"style":25},[861],{"_key":106,"_type":12,"marks":862,"text":108},[],[],{"_key":111,"_type":8,"children":865,"markDefs":868,"style":25},[866],{"_key":114,"_type":12,"marks":867,"text":116},[],[],{"_key":119,"_type":8,"children":870,"markDefs":873,"style":25},[871],{"_key":122,"_type":12,"marks":872,"text":124},[],[],{"_key":127,"_type":8,"children":875,"markDefs":878,"style":25},[876],{"_key":130,"_type":12,"marks":877,"text":132},[],[],{"_key":135,"_type":8,"children":880,"markDefs":883,"style":25},[881],{"_key":138,"_type":12,"marks":882,"text":140},[],[],{"_key":143,"_type":8,"children":885,"markDefs":888,"style":25},[886],{"_key":146,"_type":12,"marks":887,"text":148},[],[],[890,895],{"_key":152,"_type":8,"children":891,"markDefs":894,"style":25},[892],{"_key":155,"_type":12,"marks":893,"text":69},[],[],{"_key":159,"_type":8,"children":896,"markDefs":899,"style":25},[897],{"_key":162,"_type":12,"marks":898,"text":164},[],[],{"alt":46,"asset":901},{"_id":222,"height":223,"orientation":224,"ratio":225,"url":226,"width":227},{"_type":51,"current":68},{"end":904,"start":905},"2022-11-14","2022-05-13",{"landingImage":907,"thumbnailImage":914},{"alt":46,"asset":908},{"_id":909,"height":910,"orientation":224,"ratio":911,"url":912,"width":913},"image-c06996d6be61b4f64d0134815603c5e75be2571d-3000x3828-jpg",3828,0.7836990595611285,"https://cdn.sanity.io/images/w19bax1v/production/c06996d6be61b4f64d0134815603c5e75be2571d-3000x3828.jpg",3000,{"alt":46,"asset":915},{"_id":916,"height":913,"orientation":244,"ratio":917,"url":918,"width":919},"image-ebff49ac843cc342dd780110bc586ee55b9fdb9f-4000x3000-jpg",1.3333333333333333,"https://cdn.sanity.io/images/w19bax1v/production/ebff49ac843cc342dd780110bc586ee55b9fdb9f-4000x3000.jpg",4000,"Manitoga / The Russel Wright Design Center",[922,948],{"_type":271,"text":923},[924,932,940],{"_key":925,"_type":8,"children":926,"markDefs":931,"style":25},"14cf09b93bb3",[927],{"_key":928,"_type":12,"marks":929,"text":930},"738f7bec4183",[],"The exhibition Formafantasma at Manitoga’s Dragon Rock: Designing Nature, has been organized by Giustini / Stagetti in collaboration with Magazzino Italian Art and Manitoga / The Russel Wright Design Center.",[],{"_key":933,"_type":8,"children":934,"markDefs":939,"style":25},"e4dff42203a5",[935],{"_key":936,"_type":12,"marks":937,"text":938},"ad39ebc1d53b",[],"Always interested in the complex relationship between design and the natural world, Andrea Trimarchi and Simone Farresin of the design duo Formafantasma present a selection of works in dialogue with Manitoga -the house, studio and surrounding landscape of the renowned American designer Russel Wright (1904-1976). An iconic example of modernist architecture in the idyllic Hudson Valley region, Wright’s home and studio -known as “Dragon Rock\" -is made of stone, wood and glass, and was conceived in dialogue with the landscape in which it was constructed. The project represented for Wright a critique of, and an alternative to, modern urban life, through which man has lost his ancestral and primitive connection to nature. ",[],{"_key":941,"_type":8,"children":942,"markDefs":947,"style":25},"cfe0acd4a49c",[943],{"_key":944,"_type":12,"marks":945,"text":946},"06cd2a86bd83",[],"The same attention to the relation between man and nature informs the research and practice of the Studio Formafantasma, whose works largely evolve out of a close consideration of the most critical current environmental issues. The selection of exhibited works –belonging to different collections such as Craftica, Botanica and Delta-fit discretely into the architectural setting, as if they belonged to it, thereby underlining the affinities between the two contemporary designers and Wright’s philosophy. 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The evolution of this form of commerce over time, and its tentacular expansion across the globe, has made it difficult to regulate. It grew out of the bio prospecting that took place throughout colonial territories during the nineteenth century, becoming one of the largest industries in the world both in terms of the revenue it generates and the impact it has on the planet’s biosphere.",[],{"_key":1050,"_type":8,"children":1051,"markDefs":1055,"style":25},"969651e22b84",[1052],{"_key":1053,"_type":12,"marks":1054,"text":279},"42e98941b084",[],[],{"_key":1057,"_type":8,"children":1058,"markDefs":1063,"style":25},"d2568b631a6e",[1059],{"_key":1060,"_type":12,"marks":1061,"text":1062},"a8f1bc50dcd5",[],"The earliest objects in the exhibition are samples of rare hardwoods first exhibited in the Great Exhibition of 1851, a few hundred metres from this building, which represent trees logged to the point of extinction. 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Like the rings of a tree, the central spaces of the exhibition present data and research in the form of interviews, reference materials and two films made by Formafantasma in response to their research, while the perimeter spaces offer a series of case studies that provide insight into the way wood is sourced and used. Each of these investigations represents a collaboration with experts from the fields of science, conservation, engineering, policymaking and philosophy. Together, they move from a microscopic analysis of wood and its ability to store carbon dioxide, to a metaphysical understanding of trees as living organisms.",[],{"_key":1080,"_type":8,"children":1081,"markDefs":1086,"style":25},"3be04d1ec77b",[1082],{"_key":1083,"_type":12,"marks":1084,"text":1085},"7dbc6ef6230c",[],"This multidisciplinary exhibition highlights the crucial role that design can play in our environment, and its responsibility to look beyond the edges of its borders. 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