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C.F. 15246911000",[],[67],{"_type":68,"label":4,"page":69},"internalLink",{"_id":70,"_type":71,"seo":4,"slug":72,"title":74},"7f47b73d-575d-4f56-82a5-c2a0c5f2f8c6","pageA",{"_type":10,"current":73},"imprint","Imprint",[76,80],{"_key":77,"_type":45,"title":78,"url":79},"2974397122df","Instagram","https://www.instagram.com/giustinistagetti/",{"_key":81,"_type":45,"title":82,"url":83},"377860ecd4ba","Facebook","https://www.facebook.com/p/Giustini-Stagetti-Roma-100063558789241/",{"latestPublication":85,"publications":273,"publicationsPage":1028},{"_id":86,"_type":87,"authors":88,"details":187,"enquirySubjectOverride":4,"media":4,"publicationDate":263,"seo":4,"slug":264,"thumbnailImage":266,"title":208},"0a7b6d01-d54d-4819-9bd5-ae12ce92c7ff","publication",[89],{"_id":90,"_type":91,"bioExtended":92,"bioFull":101,"bioShort":166,"profileImage":175,"seo":4,"slug":183,"sortValue":185,"title":186},"808ba6dc-1487-46cb-a6a8-7d3623f4f0f7","author",[93],{"_key":94,"_type":31,"children":95,"markDefs":100,"style":48},"398d4121d013",[96],{"_key":97,"_type":35,"marks":98,"text":99},"2c777c2c7caf",[],"Guido Gambone (Montella, 1909 - Florence, 1969) was a renowned Italian ceramic artist. After training as an apprentice in Vietri sul Mare, he worked with various factories, including Industria Ceramica Salernitana and Cantagalli. After World War II, he opened his own workshop, Ceramiche Gambone, in Florence. Known for his innovative stoneware, he participated in numerous exhibitions and won several awards, including the Faenza Prize and Gold Medal. He showcased his work internationally in cities like New York, Paris, and Zurich. ",[],[102,110,118,126,134,142,150,158],{"_key":103,"_type":31,"children":104,"markDefs":109,"style":48},"e9d06c8d2f3e",[105],{"_key":106,"_type":35,"marks":107,"text":108},"e4d4ffa3857d",[],"Guido Gambone was born in Montella Irpinia (Avellino) on June 27, 1909. His father, Gaetano, together with his wife, Teresa Volpe, and their children, moved to Vietri sul Mare. At the age of fifteen, he dropped out of high school and became an apprentice at Francesco (“Don Ciccio”) Avallone’s ceramics factory. At the time, Vietri’s ceramic production industry was experiencing what is known as the “German era,” named for the new life that Northern European artists—such as Richard Dölker, Irene Kowaliska, and Günter Stüdeman—had breathed into the local ceramic-making tradition. The young Gambone was influenced by this innovative spirit.",[],{"_key":111,"_type":31,"children":112,"markDefs":117,"style":48},"e3a411665417",[113],{"_key":114,"_type":35,"marks":115,"text":116},"d039942f7b65",[],"Despite suffering a serious car accident in 1933 that led to the amputation of one of his legs, Guido Gambone continued working in the field of ceramics, collaborating with the Industria Ceramica Salernitana (ICS) factory, owned by Max Melamerson. In the mid-1930s, Melamerson became the artistic director at ICS, stepping into the role previously filled by Richard Dölker.",[],{"_key":119,"_type":31,"children":120,"markDefs":125,"style":48},"5daf37835d43",[121],{"_key":122,"_type":35,"marks":123,"text":124},"13af8a6f17fa",[],"In 1936, Gambone was sent to Florence with Vincenzo and Salvatore Procida, as well as Vincenzo Solimene, to work at the Cantagalli factory, which was run by Max Melamerson at the time. He returned to Vietri in 1939 and continued his collaboration with the German entrepreneur, whose factory had since changed its name to Manifattura Artistica Ceramica Salernitana (MACS).",[],{"_key":127,"_type":31,"children":128,"markDefs":133,"style":48},"acd9e829017f",[129],{"_key":130,"_type":35,"marks":131,"text":132},"cb2a6c3d8f25",[],"After the war, he opened a factory with his brother Remigio, Andrea D’Arienzo, and Ugo De Feo, called La Faenzerella. Here, beyond his continued production of pieces influenced by local tradition and the “German era,” Gambone found success with his own experimental works.",[],{"_key":135,"_type":31,"children":136,"markDefs":141,"style":48},"e72f0d4087ff",[137],{"_key":138,"_type":35,"marks":139,"text":140},"63d11cd369fb",[],"In 1950, he permanently moved to Florence with Andrea D'Arienzo and Salvatore Procida and founded the workshop Ceramiche Gambone, first located on Via Palazzo dei Diavoli and later on Via Benedetto Marcello.",[],{"_key":143,"_type":31,"children":144,"markDefs":149,"style":48},"abdfa60b61ea",[145],{"_key":146,"_type":35,"marks":147,"text":148},"b40ae963e879",[],"In the mid-1950s, he began to show an interest in stoneware, creating high-quality pieces. This period also marked an important time in his career, as he actively participated in exhibitions and competitions. Notably, he was a regular presence at the Mostra Mercato dell'Artigianato in Florence from the 1940s to the 1960s.",[],{"_key":151,"_type":31,"children":152,"markDefs":157,"style":48},"49515784e08b",[153],{"_key":154,"_type":35,"marks":155,"text":156},"b1bea09795d5",[],"Here is a list of the main events in which he participated and the prizes he won:\n1950, XXV International Art Exhibition of Venice’s Biennale; 1951, Personal Exhibition at Il Milione Gallery; 1948, Concorso della Ceramica di Faenza (Faenza Prize); 1949 (Faenza Prize ex aequo); 1954 (Ballardini Prize); 1959 (Faenza Prize); 1960 (Faenza Prize and Gold Medal); 1961 (Prize from the Ente Autonomo Mostra Mercato Nazionale dell'Artigianato in Florence); 1962 1966, 1967 (Prize from the Ente Provinciale per il Turismo in Ravenna).He participated in various of the Milan Triennale: 1951 (Honor Diploma); 1954 (Honor Diploma); 1957, Personal Exhibition (Collaboration Diploma); 1969 Gubbio, Bienniale della Ceramica (Gold Medal); 1962 Gualdo Tadino, Concorso della Ceramica (First Prize ex aequo); 1963 Cervia, Concorso Ceramica d'Arte Moderna (Cervia City Prize; 1964 Honor Diploma and ex aequo prize from the Azienda di Soggiorno); 1967 (Honor Plaque and Prize).\nAmong the numerous exhibitions abroad are: 1951, New York, Italy at Work: Mostra dell'Artigianato\nItaliano; 1952 and 1956, Paris, Art Décoratif Italien, Galerie de l'Orfèvrerie Christofle; 1954, Zurich, Forme Nuove in Italia; 1955, London, Italian Contemporary Handicrafts; 1961, Copenhagen, Oslo, and Stockholm, Mostra d'arte contemporanea italiana; 1967, Amsterdam, Nieuwe Italiaanse Vormgeving.",[],{"_key":159,"_type":31,"children":160,"markDefs":165,"style":48},"a21daa641349",[161],{"_key":162,"_type":35,"marks":163,"text":164},"ec912e0cd1d7",[],"Guido Gambone died in Florence on September 20, 1969.",[],[167],{"_key":168,"_type":31,"children":169,"markDefs":174,"style":48},"1f416a96fea4",[170],{"_key":171,"_type":35,"marks":172,"text":173},"a7008f4d5ea9",[],"Guido Gambone (Montella, 1909 - Florence, 1969)",[],{"alt":4,"asset":176},{"_id":177,"height":178,"orientation":179,"ratio":180,"url":181,"width":182},"image-be5092ebe0696b8c96447d20a0a0817e3a3f0060-1041x1238-jpg",1238,"portrait",0.8408723747980614,"https://cdn.sanity.io/images/w19bax1v/production/be5092ebe0696b8c96447d20a0a0817e3a3f0060-1041x1238.jpg",1041,{"_type":10,"current":184},"guido-gambone","gambone","Guido Gambone",{"initialDetails":188},[189,197,214,227,239,251],{"_key":190,"_type":31,"children":191,"markDefs":196,"style":48},"b506a621ec30",[192],{"_key":193,"_type":35,"marks":194,"text":195},"5120d69565c9",[],"Published on the occasion of the exhibition:",[],{"_key":198,"_type":31,"children":199,"markDefs":213,"style":48},"00694887646e",[200,204,209],{"_key":201,"_type":35,"marks":202,"text":203},"fc8cd8ca2f24",[],"Guido Gambone, ",{"_key":205,"_type":35,"marks":206,"text":208},"94705a428cf7",[207],"em","La Faenzerella",{"_key":210,"_type":35,"marks":211,"text":212},"5a19dddca424",[],"\n13.02.26–20.03.26\u2028\nGiustini / Stagetti and Enrico Camponi",[],{"_key":215,"_type":31,"children":216,"markDefs":226,"style":48},"6411a1211d54",[217,222],{"_key":218,"_type":35,"marks":219,"text":221},"52e9ed2d88dd",[220],"smallCaps","Text",{"_key":223,"_type":35,"marks":224,"text":225},"ee374e5242d2",[],"\nGilda Cefariello Grosso",[],{"_key":228,"_type":31,"children":229,"markDefs":238,"style":48},"42ddb3afec43",[230,234],{"_key":231,"_type":35,"marks":232,"text":233},"dbe8506fceb6",[220],"Photographs ",{"_key":235,"_type":35,"marks":236,"text":237},"0247e2860877",[]," \nOmar Golli",[],{"_key":240,"_type":31,"children":241,"markDefs":250,"style":48},"8596c59a7fcc",[242,246],{"_key":243,"_type":35,"marks":244,"text":245},"c510e051bcd1",[220],"design",{"_key":247,"_type":35,"marks":248,"text":249},"ee36615f0575",[],"\nAlberto Malossi",[],{"_key":252,"_type":31,"children":253,"markDefs":262,"style":48},"74361b1ad7e4",[254,258],{"_key":255,"_type":35,"marks":256,"text":257},"dbe709416082",[220],"Details",{"_key":259,"_type":35,"marks":260,"text":261},"eb17d04819e2",[],"\nSoftcover, 156pp\n210 x 280 mm",[],"2026-02-13",{"_type":10,"current":265},"la-faenzerella",{"alt":4,"asset":267},{"_id":268,"height":269,"orientation":179,"ratio":270,"url":271,"width":272},"image-24f1d5ee7373ae876bcd0d9d3616e2032d15a40a-2480x3307-jpg",3307,0.7499244027819776,"https://cdn.sanity.io/images/w19bax1v/production/24f1d5ee7373ae876bcd0d9d3616e2032d15a40a-2480x3307.jpg",2480,[274,445,607,769,907],{"_id":275,"_type":87,"authors":276,"details":363,"enquirySubjectOverride":4,"media":4,"publicationDate":435,"seo":4,"slug":436,"thumbnailImage":438,"title":382},"b071b55b-bf98-4851-8465-7a8296512126",[277],{"_id":278,"_type":91,"bioExtended":279,"bioFull":288,"bioShort":337,"profileImage":354,"seo":4,"slug":361,"sortValue":362,"title":344},"44a3b707-4325-44ca-91db-9ab9ad834637",[280],{"_key":281,"_type":31,"children":282,"markDefs":287,"style":48},"c4feda3f25b4",[283],{"_key":284,"_type":35,"marks":285,"text":286},"47cac84e164a",[],"Andrea Trimarchi (1983) and Simone Farresin (1980) are Formafantasma, an Italian design duo based in Milan. 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.",[],[289,297,305,313,321,329],{"_key":290,"_type":31,"children":291,"markDefs":296,"style":48},"66e13ac17b07",[292],{"_key":293,"_type":35,"marks":294,"text":295},"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":298,"_type":31,"children":299,"markDefs":304,"style":48},"01537ad2e9eb",[300],{"_key":301,"_type":35,"marks":302,"text":303},"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":306,"_type":31,"children":307,"markDefs":312,"style":48},"cc0ff53e39bd",[308],{"_key":309,"_type":35,"marks":310,"text":311},"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":314,"_type":31,"children":315,"markDefs":320,"style":48},"15e233d752f5",[316],{"_key":317,"_type":35,"marks":318,"text":319},"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":322,"_type":31,"children":323,"markDefs":328,"style":48},"7486803768d5",[324],{"_key":325,"_type":35,"marks":326,"text":327},"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":330,"_type":31,"children":331,"markDefs":336,"style":48},"af1f9684422b",[332],{"_key":333,"_type":35,"marks":334,"text":335},"5d01da72a08f",[],"Formafantasma has been awarded Wallpaper* Designer of the Year 2021.",[],[338,346],{"_key":339,"_type":31,"children":340,"markDefs":345,"style":48},"d23635d39c06",[341],{"_key":342,"_type":35,"marks":343,"text":344},"e086f264d4c9",[],"Formafantasma",[],{"_key":347,"_type":31,"children":348,"markDefs":353,"style":48},"b64f02da9df2",[349],{"_key":350,"_type":35,"marks":351,"text":352},"2529a373ea27",[],"Andrea Trimarchi (Bolzano, 1983) and Simone Farresin (Malo, 1980)",[],{"alt":4,"asset":355},{"_id":356,"height":357,"orientation":179,"ratio":358,"url":359,"width":360},"image-f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900-jpg",900,0.6666666666666666,"https://cdn.sanity.io/images/w19bax1v/production/f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900.jpg",600,{"_type":10,"current":362},"formafantasma",{"initialDetails":364},[365,372,388,400,412,424],{"_key":366,"_type":31,"children":367,"markDefs":371,"style":48},"b0803c9fa9ce",[368],{"_key":369,"_type":35,"marks":370,"text":195},"d302d34ed518",[],[],{"_key":373,"_type":31,"children":374,"markDefs":387,"style":48},"5369c1ead234",[375,379,383],{"_key":376,"_type":35,"marks":377,"text":378},"1635e2e2d76f",[],"Formafantasma, ",{"_key":380,"_type":35,"marks":381,"text":382},"8759717ffd13",[207],"La casa dentro",{"_key":384,"_type":35,"marks":385,"text":386},"7346b1f5eaf1",[],"\n10.04.24–19.07.24\u2028\nFondazione ICA Milano ",[],{"_key":389,"_type":31,"children":390,"markDefs":399,"style":48},"2608f0546cb7",[391,395],{"_key":392,"_type":35,"marks":393,"text":394},"b7c0497f7d31",[220],"Texts",{"_key":396,"_type":35,"marks":397,"text":398},"25edd9df84fd",[],"\nAlessandro Rabottini, Alberto Salvadori ",[],{"_key":401,"_type":31,"children":402,"markDefs":411,"style":48},"50515d6259c7",[403,407],{"_key":404,"_type":35,"marks":405,"text":406},"ceca0f76ae8b",[220],"Photographs",{"_key":408,"_type":35,"marks":409,"text":410},"7ff63c5be877",[],"\nMarco Cappelletti, Andrea Rossetti",[],{"_key":413,"_type":31,"children":414,"markDefs":423,"style":48},"c5ea8b0dad26",[415,419],{"_key":416,"_type":35,"marks":417,"text":418},"d87ca1e29e96",[220]," DESIGN",{"_key":420,"_type":35,"marks":421,"text":422},"7d9f9ee7491d",[],"\nValerio Di Lucente",[],{"_key":425,"_type":31,"children":426,"markDefs":434,"style":48},"3b16ce3d876f",[427,430],{"_key":428,"_type":35,"marks":429,"text":257},"f5c6f5f5be06",[220],{"_key":431,"_type":35,"marks":432,"text":433},"ba6a9a896a7c",[],"\nSoftcover, 100pp\n210 x 280 mm",[],"2024-10-04",{"_type":10,"current":437},"la-casa-dentro",{"alt":4,"asset":439},{"_id":440,"height":441,"orientation":179,"ratio":442,"url":443,"width":444},"image-e6f21c6e48e573893defc586f12d8d5b0d2b1069-783x1040-webp",1040,0.7528846153846154,"https://cdn.sanity.io/images/w19bax1v/production/e6f21c6e48e573893defc586f12d8d5b0d2b1069-783x1040.webp",783,{"_id":446,"_type":87,"authors":447,"details":513,"enquirySubjectOverride":4,"media":4,"publicationDate":596,"seo":4,"slug":597,"thumbnailImage":599,"title":606},"8a9cd647-68ed-4daf-8f3d-4945d608c263",[448],{"_id":449,"_type":91,"bioExtended":450,"bioFull":459,"bioShort":492,"profileImage":501,"seo":4,"slug":509,"sortValue":511,"title":512},"dc97c4dc-95fb-4271-a182-301e34598481",[451],{"_key":452,"_type":31,"children":453,"markDefs":458,"style":48},"039af9d94ff0",[454],{"_key":455,"_type":35,"marks":456,"text":457},"9d6d460436dc",[],"Luigi and Eros Genazzi were pivotal figures in 20th-century Italian silver craftsmanship, blending tradition with modern design. Luigi, born in 1876, trained in Milan and gained recognition as an engraver and medalist. In 1919, he founded his workshop, becoming a master silversmith, influenced by the Secessionist and Art Deco movements. In the 1920s, he collaborated with designers like Gio Ponti. His son Eros, born in 1908, brought innovative approaches in the 1930s-40s, gaining praise at international exhibitions. After Luigi’s death in 1946, Eros led the workshop to further success, earning multiple awards and leaving a lasting legacy.",[],[460,468,476,484],{"_key":461,"_type":31,"children":462,"markDefs":467,"style":48},"52a00f627653",[463],{"_key":464,"_type":35,"marks":465,"text":466},"a4bf4b2de3d3",[],"Luigi and Eros Genazzi were two key figures in the landscape of 20th-century Italian silver craftsmanship, skill fully combining the rich artisan tradition with modern design innovation. Luigi Genazzi, born in 1876, trained in Milanese workshops and prestigious artistic institutions such as the Brera Academy and the Sforza Castle. From the early 1900s, he distinguished himself as an engraver and medalist, earning significant accolades such as the gold medal at the 1906 Milan Exhibition and the Grand Prix at the 1908 Genoa Exhibition. In 1919, he established his first artisan workshop, the \"Award-Winning Artistic Industrial Workshop for Chiseling, Engraving, and Silverware,\" solidifying his reputation as a master silversmith with creations embodying the refined aesthetics of the Secessionist and Art Deco movements.",[],{"_key":469,"_type":31,"children":470,"markDefs":475,"style":48},"9989e8f53eb5",[471],{"_key":472,"_type":35,"marks":473,"text":474},"17abc56e5ff9",[],"Starting in the 1920s, Luigi Genazzi began producing silver artifacts in collaboration with prominent architects and designers, including Ugo Zanchetta and Gio Ponti. His creations were characterized by clean lines and meticulous surface treatments, anticipating the rationalist design trends that would shape the following decades. In 1929, he moved his business to a new workshop on Via Quadronno in Milan, where around one hundred artisans worked, including his son Eros, born in 1908. Eros, after training at the Brera Academy and apprenticing under Piero Riboldi, introduced an even more innovative vision, incorporating modern elements and experimenting with materials and forms.",[],{"_key":477,"_type":31,"children":478,"markDefs":483,"style":48},"bd817ef6f240",[479],{"_key":480,"_type":35,"marks":481,"text":482},"513692829a29",[],"During the 1930s and 1940s, the Genazzi workshop experienced a period of remarkable growth, thanks in part to collaborations with renowned designers such as Ignazio Gardella and Corrado Corradi. The atelier successfully participated in numerous international exhibitions, including the Milan Triennials and the 1937 Paris Exhibition, where Eros Genazzi’s works—distinguished by biomorphic shapes and masterfully crafted surfaces—were highly praised. However, World War II abruptly halted this upward trajectory: the 1943 bombings severely damaged the workshop and destroyed the company’s historical archives. Luigi's passing in 1946 marked the definitive transition of leadership to Eros.",[],{"_key":485,"_type":31,"children":486,"markDefs":491,"style":48},"052e920ac83b",[487],{"_key":488,"_type":35,"marks":489,"text":490},"4c3079513abd",[],"In the 1950s and 1960s, Eros Genazzi further cemented the workshop’s prestige, steering it toward an increasingly refined and innovative design approach. His work stood out for its perfect fusion of functionality and aesthetic sophistication, as evidenced by the numerous awards he received, including the Compasso d’Oro in 1951 for a blackened silver cocktail set and in 1957 for a cutting-edge coffee pot design. 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Renowned for his expressive, visionary painting, Cucchi combines various materials and techniques, including ceramics, to create emotional and symbolic works. His use of ceramic represents his belief in the permanence of memory. Collaborating with architects like Mario Botta and Ettore Sottsass, Cucchi has contributed to major projects, such as the mosaic for Tel Aviv's Museum of Art and fountains in various locations. 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The presence of disparate symbols, of a classical or dreamlike matrix, torn from the present or memory, overlap and interrelate in the chromatic fabric from which they appear to emerge. The loss of spatial-temporal coordinates and the continuous incursion into a cultural territory and that of the emotions coincides with an unruly use of colours thickened and then streaked, violent and then sketchy and with a wide range of artistic materials and techniques, such as painting, drawing, engraving, mosaic, bronze and ceramics. Cucchi’s long term relation with ceramic – first used as an extra-pictorical material and then as a self-sufficient means of expression – comes from his trust in everlasting things, in memory. Ceramic – one of the most ancient materials – has always inspired the artist for its being a steady point, that has been through history, resisted many things and which he considers one of the most sincere disciplines.",[],{"_key":639,"_type":31,"children":640,"markDefs":653,"style":48},"0e42baf97c2f",[641,645,649],{"_key":642,"_type":35,"marks":643,"text":644},"60738044602c",[],"Cucchi’s interest in the interaction between different arts and disciplines has led him to work in diverse fields (from the visual arts to architecture, design and fashion), and to grasp the importance and fertility of the encounter with other Italian masters. Intuitions such as these gave rise to emblematic collaborations, for instance, with architect Mario Botta, in 1994, for the developing the iconic system of the Santa Maria degli Angeli church, on the Tamaro Mount, in Lugano and, in 2001, with Ettore Sottsass in the conception of publishing projects (",{"_key":646,"_type":35,"marks":647,"text":648},"b968c615ab03",[207],"I Disuguali",{"_key":650,"_type":35,"marks":651,"text":652},"877012418d14",[],", a periodical issue of ceramic panels, 2001), in the production of four-handed works, and shared exhibitions, and in 2005-2007, in the creation of the four ceramic fountains for the architectural quadrilateral of the Chiostro della Pace (Peace Cloister) designed by Sottsass for the University Campus in Fisciano (Salerno). Enzo Cucchi has specifically conceived permanent artworks for different cities: the floor mosaic for the Museum of Art in Tel Aviv; the monumental ceramic panel for the Ala Mazzoniana of Termini Station in Rome; the ceramic works for the Stazione Salvator Rosa designed by Mendini in the Naples subway; the mosaic for the audience chamber of the new Palazzo di Giustizia in Pescara; the Votive Arch at the entrance of the Sanctuary of the Madonna della Grotta, donated by the artist to the city of Praia a Mare (Cosenza). His “Ideal Fountains”, commissioned by public Italian and international institutions, are placed worldwide: at the York University in Toronto (“Fontana d’Italia”), in the Louisiana Museum of Modern Art in Humlebaek, Copenhagen, one in front of the Palazzo della Provincia (“Religione”) in Catanzaro and one in the old harbour in Ancona (“Fontana dei due soli”).",[],{"_key":655,"_type":31,"children":656,"markDefs":661,"style":48},"29bbefe6ab3f",[657],{"_key":658,"_type":35,"marks":659,"text":660},"0a8ed47ec07f",[],"On the proposal of the Presidency of the Council of Ministers, on May 2, 2012 the President Giorgio Napolitano honors Enzo Cucchi with the title of Commander of Merit of the Italian Republic. He has been a member of the National Academy of San Luca since 1999.",[],{"_key":663,"_type":31,"children":664,"markDefs":669,"style":48},"86c75d12d92c",[665],{"_key":666,"_type":35,"marks":667,"text":668},"c386b0533d10",[],"Enzo Cucchi has presented numerous solo exhibitions and taken part in collective shows in the most important Italian and foreign museums, such as MAXXI Rome; the Kunsthalle in Basel; the Solomon R. Guggenheim Museum, New York; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Castello di Rivoli, Rivoli (To); Palazzo Reale, Milan; the Sezon Museum of Art, Tokyo; the Academy of France in Rome–Villa Medici, Rome and the Musée d’Art Aoderne, Saint-Étienne Métropole. He has also participated in the most important contemporary art exhibitions internationally, including the Venice Art Biennial, Documenta in Kassel, and the Quadriennale d’Arte in Rome. In 2007 Museum Correr in Venice celebrated Enzo Cucchi’s work through a major monographic exhibition, opening in correspondance with the 52° Venice Art Biennial. 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He graduated in architecture from Venice in 1959 and began his career in Milan in 1960. His work spanned urban planning, buildings, interiors, and furniture design. Notable projects include houses in Stintino (1960) and Osmate (1975), the school in Faedis (1977), and Piazza San Nazaro in Milan (1989-1992). His interior projects include Casa Frea (1983) and the renovation of Caffè Pedrocchi (1994-1998). Riva’s work was exhibited internationally, including at the Paris Biennial and La Triennale di Milano. He received multiple awards, including the Gold Medal for Italian Architecture.",[],[922],{"_key":923,"_type":31,"children":924,"markDefs":929,"style":48},"5e1ee21376a0",[925],{"_key":926,"_type":35,"marks":927,"text":928},"66f46b0ce5c5",[],"Umberto Riva (Milan, 1928 – Palermo, 2021) was an Italian architect and designer. He studied architecture in Venice, graduating in 1959.\nHis professional activity began in Milan in 1960. His projects evolve on diverse scales ranging from urban spaces to individual buildings, landscape and interiors, and furnishing to furniture and lamp design.\nSince the beginning, his works have been published in the principal design magazines. Among the architectural projects: the houses in Stintino, Sardinia (1960) and in Osmate (1975); the school of Faedis (1977); Piazza San Nazaro in Milan (1989-1992); Casa Miggiano in Otranto (1990-1996); Case alla Morlana in Bergamo (1991 and 1995-2002); the Fincantieri shipyard, Castellammare (1999-2002); Piazza della Farnesina in Rome (1991 and 1996-2002) and the San Corbiniano Church located in the Infernetto suburb in Rome (2011).\nAmong the interiors: Casa Frea in Milan (1983-1984); Casa Insinga in Milan (1987); Casa Vernizzi in Paris (1988); the IB Office store in Padua (1992); the layout of the atrium, bar and library of the Palazzo dell’Arte in Milan (1994-1995); the renovation of Caffè Pedrocchi in Padua (1994-1998); the architectural new arrangement of Palazzo Barbaran da Porto in Vicenza(1998).\nHis projects have been exhibited in many international exhibition including the Paris Biennial and La Triennale di Milano. Among the majors exhibitions: “Umberto Riva. Sistemazioni Urbane”, Palazzo Bosdari in Ancona (1997); “Disegni di Architettura dal Dopoguerra ad oggi, dalla collezione di Francesco Moschini” at the Scuderie Medicee di Poggio in Caiano (2002); “Rooms You May Have Missed: Bijoy Jain, Umberto Riva” at the CCA of Montreal (2015).\nSince 1999 he had been member of the Accademia di San Luca; in 2003 and in 2018 he was awarded the Gold Medal for Italian Architecture by La Triennale di Milano.",[],[931],{"_key":932,"_type":31,"children":933,"markDefs":938,"style":48},"f03187d6f456",[934],{"_key":935,"_type":35,"marks":936,"text":937},"a6f688f590dd",[],"Umberto Riva (Milan, 1928 – Palermo, 2021)",[],{"alt":4,"asset":940},{"_id":941,"height":942,"orientation":179,"ratio":943,"url":944,"width":945},"image-13de45c68b75a28045454900fde35d412c11132f-672x1012-png",1012,0.6640316205533597,"https://cdn.sanity.io/images/w19bax1v/production/13de45c68b75a28045454900fde35d412c11132f-672x1012.png",672,{"_type":10,"current":947},"umberto-riva","riva","Umberto Riva",{"initialDetails":951},[952,959,975,986,997,1007],{"_key":953,"_type":31,"children":954,"markDefs":958,"style":48},"13c8ddce717e",[955],{"_key":956,"_type":35,"marks":957,"text":195},"30a7f128aeda",[],[],{"_key":960,"_type":31,"children":961,"markDefs":974,"style":48},"94c290135dad",[962,966,970],{"_key":963,"_type":35,"marks":964,"text":965},"a3c069082d3a",[],"Umberto Riva, ",{"_key":967,"_type":35,"marks":968,"text":969},"a117ce3048f3",[207],"Selected Works",{"_key":971,"_type":35,"marks":972,"text":973},"f03b07ccf39c",[],"\n05.05.22–17.06.22\u2028\nGiustini / Stagetti",[],{"_key":976,"_type":31,"children":977,"markDefs":985,"style":48},"852b9fbd31fe",[978,981],{"_key":979,"_type":35,"marks":980,"text":221},"939c3025d605",[220],{"_key":982,"_type":35,"marks":983,"text":984},"78c5b88647d7",[],"\nGabriele Neri",[],{"_key":987,"_type":31,"children":988,"markDefs":996,"style":48},"54d27b3d6ad4",[989,992],{"_key":990,"_type":35,"marks":991,"text":233},"5503971fd677",[220],{"_key":993,"_type":35,"marks":994,"text":995},"93f3bbd46636",[]," \nPaolo Di Lucente\nOmar Golli",[],{"_key":998,"_type":31,"children":999,"markDefs":1006,"style":48},"6996eca2e9ec",[1000,1003],{"_key":1001,"_type":35,"marks":1002,"text":245},"adb35757f245",[220],{"_key":1004,"_type":35,"marks":1005,"text":422},"b5db711af55e",[],[],{"_key":1008,"_type":31,"children":1009,"markDefs":1017,"style":48},"d967fe50746e",[1010,1013],{"_key":1011,"_type":35,"marks":1012,"text":257},"84b9864317b9",[220],{"_key":1014,"_type":35,"marks":1015,"text":1016},"97156e6289c5",[],"\nSoftcover, 118pp\n210 x 280 mm",[],"2022-05-05",{"_type":10,"current":1020},"selected-works",{"alt":4,"asset":1022},{"_id":1023,"height":1024,"orientation":179,"ratio":1025,"url":1026,"width":1027},"image-44fe9d1aec0dad2e3608e6d5c9b7991d0ebbd279-1619x2168-jpg",2168,0.7467712177121771,"https://cdn.sanity.io/images/w19bax1v/production/44fe9d1aec0dad2e3608e6d5c9b7991d0ebbd279-1619x2168.jpg",1619,{"_id":1029,"_type":1029,"introduction":1030,"seo":4,"slug":1039,"title":1041},"publicationsPage",[1031],{"_key":1032,"_type":31,"children":1033,"markDefs":1038,"style":48},"f67387c72fdd",[1034],{"_key":1035,"_type":35,"marks":1036,"text":1037},"9eb2f512004e",[],"The gallery’s publishing project accompanies the exhibitions and collections it produces, releasing catalogs in a limited edition of 300 copies.",[],{"_type":10,"current":1040},"books","Books",1778622942537]