Offer Of The Month!
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The future is PINK! And so is this beautiful house photographed by Dan Graham in 2010 in our lovely city, Brescia. Here's the perfect idea for a joyful and bright beginning of the year. Write now!!!
The future is PINK! And so is this beautiful house photographed by Dan Graham in 2010 in our lovely city, Brescia. Here's the perfect idea for a joyful and bright beginning of the year. Write now!!!
Vi aspettiamo, se volete chiamate il 019/65432 e lasciate un messaggio. Qui non rimane che prepararci per la vostra visita. Potete rimanere alcuni giorni. Sarà molto bello insieme. Love Icaro's
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something old and exiting.
xxx Max
“It is impossible to define Enzo Mari. An artist, a philosopher, a theorist, a designer. A prophet, a utopist, a preacher, a mystic. These are just some of the many facets of a complex personality, emanations of the lucid madness and rigour that distinguish him”
Francesca Giacomelli
Born on April 27th, 1932, Enzo Mari attended the Brera academy in Milan and, at a very young age, worked in the field of Programmed Art to devote himself, from 1956 onwards, to industrial design, also experimenting with new materials. In art he has promoted the international movement New Trends. In the sixties he revolutionized the concept of design through objects useful for the so-called common people, until now excluded from a sector considered elitist. Thus were born creations that do not feel the wear and tear of time, free from fashions, whose meaning lies not only in the constant and long research work, but in the quality of the forms. His objects often arise from an intuition, e.g. Putrella, 1958, with its elementariness as well as extremely dense potential for internal cross-references and evocative strength. Mari has always looked at the needs of the human being outside the constraints of the market. He has articulated in his work the inventions of an artist and those of a designer and theorist, author of fifteen didactic and political books. His works are present in the collections of the Centre d’Art Santa Mònica in Barcelona, the Gallery of Modern Art in Rome, the Gallery of Modern Art in Zagreb, the Kaiser Wilhelm Museum in Krefeld, the Musée des Arts décoratifs of the Louvre in Paris, the Museum of Modern Art in New York, the Triennale Design Museum in Milan and other public and private collections.
He taught in several Italian universities, in Vienna and Berlin.
He was awarded with the Compasso d’Oro, the oldest and most prestigious industrial design award in the world, five times: the first in 1967 for individual design researches, the last in 2011 for his career.
“In Mari’s words, towards the mid-1970s, he “perceived the ideological-political contrasts extant between the different groups protesting against the world. On the separate fragments of ideology there is no discord. On the contrary, on the strategic and tactical aspects there are such divisions that justify the existence of different ‘parties”‘. To understand and communicate this “diversity”, Mari envisioned a large panel graphically representing a visual text, which was not the simple iconographic translation of a written text butthe semantic fusion of different languages creating a new code to communicate the necessary coordinates for a historical, economic, geographic, political and cultural reinterpretation of society.”
Francesca Giacomelli
“With the project “Il gioco delle favole” Mari did not make the mistake of recreating a microcosm of everyday life with its tools and miniature cities to train children to become alienated adults. On the contrary, he invented a boundless game based on freedom and space appropriation. While piecing together a story using their imagination, children see their creativity manifest itself in a tangible structure, a maze-like jigsaw puzzle filled with images and symbols through which they can explore the fable they created in all its parts, following a given order, modifying it, or even deciding to change everything and start all over again. The hardest aspect in designing the The fable game was the definition and the drawing of the single pictures. This research on iconographic simplification towards the essence of form led to the development of the Nature Series, 1961-76, in collaboration with Elio Mari”.
Francesca Giacomelli