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After working with Enzo Mari and learning cabinet-making with Francesco Rivolta, he opened his own studio in 2007. Faccin has won awards such as the Design Report Award (2010) and an honorable mention at the Compasso D’Oro (2015). He directed Fonderia Artistica Battaglia (2014–2016) and presented Honey Factory at Expo2015. Faccin is also a professor at various universities. In 2018 he begins his collaboration with the Gallery with Anonimo Contemporaneo, a project that starts from the popular anonymous chair, the Romanella, to reflect on the idea of the archetype.",[],{"_key":102,"_type":8,"children":103,"markDefs":108,"style":25},"6234f91e6156",[104],{"_key":105,"_type":12,"marks":106,"text":107},"a14b99450a71",[],"",[],[110],{"_key":111,"_type":8,"children":112,"markDefs":117,"style":25},"b63bd769885d",[113],{"_key":114,"_type":12,"marks":115,"text":116},"0f8c489dc382",[],"Constantly shifting the area of application between industrial production, indipendent production, community design and gallery work, Francesco Faccin (Milan in 1977) belives in design without bounderies or limits:\nIn 2004, after almost two years of collaboration with Enzo Mari, he starts working with the lute-maker Francesco Rivolta, learning hight cabinet making techniques. In 2007 started his own studio in Milan. From 2009 to 2015 he is consultant for Michele De Lucchi.\nIn 2013 he is selected as “Italian Fellow” at the American Academy in Rome. In 2010 he wins the Design Report Award and in 2015, with the “Traverso” project he receives an honorable mention at the Compasso D’Oro.\nFrom 2014 to 2016 he is artistic director of the historic Fonderia Artistica Battaglia in Milan. In 2015, on the occasion of Expo2015 he presents “Honey Factory”, a micro architecture for urban beekeeping that on 2018 the UN selects as guiding project in reference to the 17 Global Goals.\nIn addition to working for Italian and international, public and private clients and NGOs,\nFrancesco Faccin is a professor at the “Libera Università” in Bolzano, at the “Made Program” in Syracuse, and at the “Universidad de Navarra” in Pamplona; also, as a visiting professor, collaborates with other universities in Italy and abroad.\nHis work has been published in the most important international specialized magazines.\nIn 2019 Icon Design marks it among the 100 most influential personalities selected in various creative fields.\nIn 2018 Francesco Faccin he begins his collaboration with the gallery with “Anonimo Contemporaneo”, a project that starts from the popular anonymous chair, the “Romanella”, to reflect on the idea of the archetype.",[],[119],{"_key":120,"_type":8,"children":121,"markDefs":126,"style":25},"3cbc7074c9db",[122],{"_key":123,"_type":12,"marks":124,"text":125},"5d95f80e2c9b",[],"Francesco Faccin (Milan, 1977)",[],[128,283],{"_id":129,"_type":130,"authors":131,"dates":166,"featuredImages":169,"location":184,"pageBuilder":185,"seo":277,"slug":280,"title":282},"7c8c0c8e-952b-40f9-8a89-aebc88ef201f","exhibition",[132],{"_id":65,"_type":66,"bioExtended":133,"bioFull":144,"bioShort":150,"profileImage":156,"seo":46,"slug":164,"sortValue":165,"title":69},[134,139],{"_key":94,"_type":8,"children":135,"markDefs":138,"style":25},[136],{"_key":97,"_type":12,"marks":137,"text":99},[],[],{"_key":102,"_type":8,"children":140,"markDefs":143,"style":25},[141],{"_key":105,"_type":12,"marks":142,"text":107},[],[],[145],{"_key":111,"_type":8,"children":146,"markDefs":149,"style":25},[147],{"_key":114,"_type":12,"marks":148,"text":116},[],[],[151],{"_key":120,"_type":8,"children":152,"markDefs":155,"style":25},[153],{"_key":123,"_type":12,"marks":154,"text":125},[],[],{"alt":46,"asset":157},{"_id":158,"height":159,"orientation":160,"ratio":161,"url":162,"width":163},"image-96a0587e3c49ebd5400163c866995087de25e330-2822x4233-jpg",4233,"portrait",0.6666666666666666,"https://cdn.sanity.io/images/w19bax1v/production/96a0587e3c49ebd5400163c866995087de25e330-2822x4233.jpg",2822,{"_type":51,"current":68},"faccin",{"end":167,"start":168},"2025-11-22","2025-10-17",{"landingImage":170,"thumbnailImage":177},{"alt":46,"asset":171},{"_id":172,"height":173,"orientation":160,"ratio":174,"url":175,"width":176},"image-b8b3c8ac83b2933c470fe7b8c54804879b109cf1-4912x7360-jpg",7360,0.6673913043478261,"https://cdn.sanity.io/images/w19bax1v/production/b8b3c8ac83b2933c470fe7b8c54804879b109cf1-4912x7360.jpg",4912,{"alt":46,"asset":178},{"_id":179,"height":180,"orientation":181,"ratio":182,"url":183,"width":173},"image-a6495bed1a3ffb0c9559015afe07b2e333f32a9d-7360x4907-jpg",4907,"landscape",1.4998981047483186,"https://cdn.sanity.io/images/w19bax1v/production/a6495bed1a3ffb0c9559015afe07b2e333f32a9d-7360x4907.jpg","Galleria Giustini / Stagetti",[186,268],{"_type":187,"text":188},"textBlock",[189,230,237,245,253,260],{"_key":190,"_type":8,"children":191,"markDefs":229,"style":25},"e07d44592561",[192,196,201,205,209,213,217,221,225],{"_key":193,"_type":12,"marks":194,"text":195},"f652e6ffd167",[],"Giustini / Stagetti presents ",{"_key":197,"_type":12,"marks":198,"text":200},"1d8380c2848f",[199],"em","Piedistalli",{"_key":202,"_type":12,"marks":203,"text":204},"f45dbccc4640",[],", a solo exhibition by Francesco Faccin that offers a poetic and radical reflection on the role of the pedestal-not merely as a base, but as a threshold, a presence, and an active device in shaping the viewer’s gaze. The exhibition brings a series of mostly unseen works, with the aim of questioning the traditional relationship between the artwork, the pedestal, and the viewer. Throughout history, the pedestal has played a fundamental—yet often overlooked—role in the display of art. More than a physical support, it is a cultural and symbolic device that helps define the meaning of the object it holds, as well as its spatial and perceptual relationship to the viewer. Over time, the pedestal has taken on various meanings.In this exhibition, it is examined not only as a practical tool, but as a protagonist in the dialogue between artwork and space. Since antiquity, pedestals have served to elevate statues above the ground, imbuing them with a sense of sacredness—whether in public squares, temples, or museums: what is placed on a pedestal is deemed worthy of attention, contemplation, and reverence. During Neoclassicism, the pedestal expressed formal balance and discipline. With the avant-garde movements of the 20th century, however, its role began to be questioned. Artists like Marcel Duchamp and Constantin Brâncuși explored the boundary between art and context, object and support. Brâncuși, in particular, made the pedestal an integral part of the work itself, dissolving the conventional hierarchy between base and sculpture. The pedestal supports, elevates, and reveals. Though it often remains in the background, it acts—through its form, material, height, and placement, it guides our gaze. It is never neutral. Rather, it mediates between the artwork and the world, between the artist and the viewer. It elevates and defines; it serves, yet speaks. In the silence of the exhibition space, it is the pedestal that tells us what deserves to be seen. Various pedestals, diverse prototypes, distinct gestures: each one does not simply propose a form, but suggests an action, a stance, a way of engaging. They invite us to look from below, gaze from above, to protect, to support, to isolate, to highlight. The pedestal thus becomes a central agent—prompting movement, interaction, and reflection. The exhibition opens a window onto an ongoing twenty-years research practice: a continuous experiment, an open-ended excercise in understanding. Pedestals from the series ",{"_key":206,"_type":12,"marks":207,"text":208},"2a7575219770",[199],"Assemblaggi",{"_key":210,"_type":12,"marks":211,"text":212},"66ee1dec07f1",[]," (2000), ",{"_key":214,"_type":12,"marks":215,"text":216},"b0d03cc948fb",[199],"Serial Planks ",{"_key":218,"_type":12,"marks":219,"text":220},"b70712055173",[],"(2016), and ",{"_key":222,"_type":12,"marks":223,"text":224},"1759a2e3534d",[199],"Regina. Della Scultura",{"_key":226,"_type":12,"marks":227,"text":228},"b018f40c0054",[]," (2021) are featured, representing key moments in this evolving investigation. Each prototype is crafted using a variety of materials and techniques, creating a dynamic dialogue with the objects they support – sometimes through resonance, sometimes through contrast. Wrought iron, cast aluminum, solid wood, galvanized sheet metal, Pyrex, stainless steel: each material brings its own visual identity, symbolic charge, and tactile tension. Every pedestal is a sculpture in its own right an autonomous yet never neutral actor in the construction of meaning. On these pedestals will be placed a selection of objects curated by Francesco Faccin himself, drawing from both his personal collection and the Giustini / Stagetti archive. Historical works will be presented alongside “objects of travel”—primitive and spontaneous artifacts that hold strong symbolic significance for the artist. The exhibition invites us to reconsider the pedestal not as a passive base, but as a symbolic threshold: the precise point where an object becomes art, and where our gaze begins to shift. “Giving voice to the silent servant” is, in this sense, an invitation to revalue what usually goes unnoticed—to dismantle visual and conceptual hierarchies that govern not only the exhibition space, but perhaps the social order as well. It is an act of listening to what usually remains silent. A celebration of what is marginal—and is brought to the center.",[],{"_key":231,"_type":8,"children":232,"markDefs":236,"style":25},"f28213e0e99e",[233],{"_key":234,"_type":12,"marks":235,"text":107},"4142ca088247",[],[],{"_key":238,"_type":8,"children":239,"markDefs":244,"style":25},"e4e762530b20",[240],{"_key":241,"_type":12,"marks":242,"text":243},"cc592f65199c",[],"-\n",[],{"_key":246,"_type":8,"children":247,"markDefs":252,"style":25},"00cb1c57dcc7",[248],{"_key":249,"_type":12,"marks":250,"text":251},"856e4b3c7165",[],"October 17th - 22nd November, 2025 | 10:30 am - 07:00 pm",[],{"_key":254,"_type":8,"children":255,"markDefs":259,"style":25},"34506d9915a7",[256],{"_key":257,"_type":12,"marks":258,"text":107},"9c2fe7d9fc65",[],[],{"_key":261,"_type":8,"children":262,"markDefs":267,"style":25},"3bb4466995fd",[263],{"_key":264,"_type":12,"marks":265,"text":266},"d3249b4ba26f",[],"Galleria Giustini / Stagetti, Via Gregoriana 41, Roma",[],{"_type":269,"caption":46,"image":270,"settings":275},"imageBlock",{"alt":46,"asset":271},{"_id":272,"height":176,"orientation":181,"ratio":273,"url":274,"width":173},"image-c8f3de6fbff9ababb8b633a1c033f285fb45be16-7360x4912-jpg",1.498371335504886,"https://cdn.sanity.io/images/w19bax1v/production/c8f3de6fbff9ababb8b633a1c033f285fb45be16-7360x4912.jpg",{"imageSize":276},"fullbleed",{"metaDescription":278,"metaTitle":279,"shareImage":46},"Francesco Faccin, Piedistalli\nGalleria Giustini / Stagetti","Francesco Faccin, Piedistalli",{"_type":51,"current":281},"piedistalli-rome","Piedistalli, Rome",{"_id":284,"_type":130,"authors":285,"dates":313,"featuredImages":316,"location":331,"pageBuilder":332,"seo":46,"slug":351,"title":353},"2a581af0-fed0-4b5f-b145-a5825e382511",[286],{"_id":65,"_type":66,"bioExtended":287,"bioFull":298,"bioShort":304,"profileImage":310,"seo":46,"slug":312,"sortValue":165,"title":69},[288,293],{"_key":94,"_type":8,"children":289,"markDefs":292,"style":25},[290],{"_key":97,"_type":12,"marks":291,"text":99},[],[],{"_key":102,"_type":8,"children":294,"markDefs":297,"style":25},[295],{"_key":105,"_type":12,"marks":296,"text":107},[],[],[299],{"_key":111,"_type":8,"children":300,"markDefs":303,"style":25},[301],{"_key":114,"_type":12,"marks":302,"text":116},[],[],[305],{"_key":120,"_type":8,"children":306,"markDefs":309,"style":25},[307],{"_key":123,"_type":12,"marks":308,"text":125},[],[],{"alt":46,"asset":311},{"_id":158,"height":159,"orientation":160,"ratio":161,"url":162,"width":163},{"_type":51,"current":68},{"end":314,"start":315},"2020-02-09","2020-02-03",{"landingImage":317,"thumbnailImage":324},{"alt":46,"asset":318},{"_id":319,"height":320,"orientation":160,"ratio":321,"url":322,"width":323},"image-9b153581b920af6eb4e55c67a06bcc9f076cca0c-1333x2000-jpg",2000,0.6665,"https://cdn.sanity.io/images/w19bax1v/production/9b153581b920af6eb4e55c67a06bcc9f076cca0c-1333x2000.jpg",1333,{"alt":46,"asset":325},{"_id":326,"height":327,"orientation":328,"ratio":329,"url":330,"width":327},"image-8a06fffd43eba1ed7325d9326c538d5d988b64ca-1500x1500-jpg",1500,"square",1,"https://cdn.sanity.io/images/w19bax1v/production/8a06fffd43eba1ed7325d9326c538d5d988b64ca-1500x1500.jpg","Italian Cultural Institute C.M. Lerici ",[333],{"_type":187,"text":334},[335,343],{"_key":336,"_type":8,"children":337,"markDefs":342,"style":25},"d40cc763fdd3",[338],{"_key":339,"_type":12,"marks":340,"text":341},"eab29c297c9e",[],"Anonimo Contemporaneo has come into being with the aim of intervening on a received original, varying its characteristics without altering its fundamental concept, thereby demonstrating that it is possible to revisit the same idea infinite times, while never repeating one’s self. Two kinds of wood, carbon-fiber, aluminium, straw, rubber and leather, the chair and low armchair. Designed by Faccin, this collection is a subtle and sophisticated experiment where in each variation interprets a different material, celebrating its specific qualities so as to restore, in a contemporary idiom, the essential idea of a chair that is popular, familiar and elegant: both iconic and anonymous. The collection focuses on the chair in its Italian declination.",[],{"_key":344,"_type":8,"children":345,"markDefs":350,"style":25},"43a1421f5809",[346],{"_key":347,"_type":12,"marks":348,"text":349},"50d112222746",[],"La Romanella is the Roman version of this category. In Italy, and throughout the Mediterranean, this type of chair exists in many variant forms, which however share many common formal and structural characteristics. This chair type represents a kind of object that has always existed and has evolved over time in an infinite range of variant formal solutions, each in search of the most efficient mode of production. By their nature these chairs are ‘by’ no-one and therefore belong to everyone and they are open to interpretation free of copyright.",[],{"_type":51,"current":352},"anonimo-contemporaneo-stockholm","Anonimo Contemporaneo, Stockholm",{"alt":46,"asset":355},{"_id":158,"height":159,"orientation":160,"ratio":161,"url":162,"width":163},{"_type":51,"current":68},1778622949876]