One of the most prolific figures in the field of Japanese photography, Nobuyoshi Araki (b. 1940) has produced countless pictures and more than five hundred photobooks since 1970. Such an abundant body of work defies easy categorization, an endeavor made all the more challenging by Araki’s experimentation with media including collage, film, and, more recently, Polaroid instant technology. Araki’s wry, irreverent work, frequently employing sexual subject matter, has often ignited controversy and earned him a degree of notoriety. The frenetic nature of his photographs, which he tends to shoot with very little preparation, is emblematic of the Japanese experience of World War II and its chaotic aftermath. Araki entered Chiba University in 1959, majoring in photography and film. The regimented and technical nature of the program, then situated in the engineering department, was unappealing to the nonconforming Araki. The film he turned in as his final project, however—Children in Apartment Blocks (1963)—served as the germ for one of his earliest photographic series, for which he received an award from Taiyo magazine the following year. Satchin (1964) focuses on schoolchildren in the Shitamachi neighborhood of Tokyo, which remained largely unchanged amid the flurry of rapid urban transformation leading up to the 1964 Tokyo Olympics. After graduation, Araki took a job as a commercial photographer for the advertising firm Dentsu. While he found the work frustratingly dull, he made good use of Dentsu’s well-stocked facilities to pursue photography on his own time, going so far as to illicitly use the company’s photocopier to produce an early photobook. Two events pivotal to Araki’s life and work took place in the late 1960s: his father died in 1967, and he met his future wife, Yoko Aoki, then working as a typist at Dentsu, the following year. Death and love would become two of the principal driving forces behind Araki’s profoundly human photography, and Yoko would become Araki’s most frequent photographic subject. The couple wed in 1971 and embarked on a honeymoon, which Araki extensively photographed. With its narrative style, personal tone, and vernacular aesthetic, the resulting volume—Sentimental Journey (1971)—is regarded as one of the most important Japanese photobooks of the twentieth century. Araki’s growing success as a photographer allowed him to leave Dentsu to focus solely on his artistic career in 1972. Araki has referred to his wide-ranging and eclectic work as “I-photography,” after the “I-novel,” a Japanese confessional literary genre often written in the first person. His unwavering concentration on his own life and experiences—sexual and otherwise—pushed against the dominant documentary photographic aesthetic, epitomized by such figures as Hiroshi Hamaya, as well as the are-bure-boke (grainy, blurry, and out-of-focus) aesthetic of the Provoke movement, prevalent in Japanese avant-garde photography beginning in the late 1960s. Araki tackled these approaches head-on in his series Pseudo-Reportage. The related photobook, published in 1980, pairs these quasi-documentary pictures with misleading captions, underscoring the problematic nature of photographic veracity. After Yoko passed away, in 1990, Araki began a host of new projects, even using his own diagnosis with prostate cancer in 2008 as a jumping-off point to explore the diminishing status of analog photography. 2THESKY, my Ender (2009) consists of photographs covered with salt, which will cause the object to deteriorate over time, mirroring the physical decline of the photographer himself. While he was not included in the landmark exhibition New Japanese Photography at the Museum of Modern Art in New York in 1974, organized by John Szarkowski and Shoji Yamagishi, he was included in Yamagishi’s second exhibition collaboration in the United States, Japan: A Self-Portrait at the International Center of Photography in New York in 1979. Araki gained international exposure in Europe prior to this, participating in Neue Fotografie aus Japan at the Kulturhaus der Stadt, Graz, Austria, his first group show outside Japan, in 1977. His first international solo show took place in 1992: Akt-Tokyo: Nobuyoshi Araki 1971–1991 at the Forum Stadtpark, Graz. — Matthew Kluk
He filters nature and life to find pureness in this world. Handwork crafted his material consciousness more visceral with hands now more robust and intelligent. Cosma Frascina Cosma was born in 1989 in the city of Grottaglie, South Italy. Graduated in Design at ISIA in Florence he feels the urge to slow down his life pace focusing on his own ideas. Goes back home, fixes an old space where to set and work, wins his fear to make mistakes and builds his self knowledge on constant trying. The lack of tools while working resulted in a pleasant rediscovery of traditional artisanal techniques and natural materials He finds his main inspiration in the roughness of nature, particularly in contrast with humans artifacts. Cosma likes not to determinate too much before start creating, to be as free as possible in the making. His design is concretized through the voice of hands, which is inherently imperfect. As a medium to find the pureness of this life he goes by upending traditional notions of beauty and comfort/functionality.
Jacopo Foggini was born in Turin and currently lives and works in Milan. He explores art and design crossing the boundaries imposed by the conventions of those disciplines. Jacopo joins really early the family business where he discovers the versatility of the methacrylate, an industrial material normally used in automotive design. His first experimentation with this material date back to the beginning of the nineties, when he starts using a machine of his own invention that heats the methacrylate up to 200 degrees Celsius, producing a filament that he models with his hands to create luminous shapes, monumental works and mazes of threads in an elegant intertwining of colors. Jacopo’s first solo exhibition was held in 1997 inside the space of his long time friend Romeo Gigli, and since then he exhibited in more then sixty galleries and venues throughout the world. For years he has participated to the Milan International Furniture Fair, realizing striking site specific installations (Devotion in 2005, Plastic Palace in 2006, Aurora Borealis in 2007, Ofigea in 2008, (Re)fuse in 2009, Golden Fleece in 2010, Plasteroid in 2011, sYmbols and Flysch in 2012). In the meantime he realizes other breathtaking projects as the Lampadario da Teatro for the Opening Ceremony of the Torino Olympic Games (2006), consisting of a big chandelier especially designed and engineered to be lifted during the performance of maestro Luciano Pavarotti, or the Matrioska Super Hero (Moscow Design Week, 2011) a 6-meter diameter reinterpretation of the matryoshka doll. He presents his last collection of Chandeliers – the Brilli – at the Museo Bagatti Valsecchi, in occasion of the 2014 Milan Design Week. In the same event he presents also the Gina chair, the last iconic project developed for the renewed Italian design company Edra, with which he carries on a prolific collaboration (other worth mentioning projects for Edra are the chairs Gilda B and Ella, the armchair Alice and the table Capriccio). Jacopo’s work include also important installations in renewed hotel, restaurant, showrooms and theatres, besides site specific projects for private houses and collectors. Among them: the Nhow Hotel in Milan, the Side Hotel in Hamburg, the Grand Hotel Principi di Piemonte in Sestriere, the Riad Enija Hotel in Marrakech, the W Hotel in Saint Petersburg , the Hilton di Barcellona, the Hotel Maddalena, the Vapiano restaurants, the Bentley’s showroom in Milan, the Pomellato’s boutiques, the World Bisazza store in New York, the Fendi showrooms in Florence and China, the Etro showroom in Istanbul and many others.
Alessandro Di Giampietro
Alessandro Di Giampietro, 1972 work and live in Ljubljana / Milan/Pescara My work springs from the observation of human identity and focuses on the multilayered personae delivered in today’s society. It explores human rituals and practices around the body and the games people play that induce a changeover from one iconic archetype to another. Each work is an attempt to reconstruct a performance in which the border between reality and fiction vacillates just as when human beings are under the spell of habitual social behaviour. I look for the primeval essence accustomed to camouflage that unleashes its power when I ask my subjects to play with masks and props to disclose the depths of their being, revealing unsaid wishes and secrets. This process allows me to connect with the intimate energy that I see in the people I take a picture of, both in staged portraits and in snap-shots. My work focuses mainly on portraits because I am fascinated about the unspoken negotiations each human being enacts with himself/herself in order to emote. These rituals, for me, express an instinctual magic that underscores each person’s uniqueness and that define the meaning of individuality at large Alessandro’s entire work springs from the observation of human identity and focuses on the multilayered personae deliverd in today’s society. The project “whatever you think I am that is what I’m not “ is kind of a liberation ritual. Social appearances are put aside to give space to deep and unknown personal pulsions that became alive when behind the mask. The monsters that live in the expressive world of Alessandro’s work are growing continuosly and are some sort of living organism that keeps to proliferate (transforming from reality into installatons, photos, videos, performance and the web). (Francesco UrbanRagazzi) SELECTED SOLO EXHIBITIONS 2018 Thinga Things . Introducing chaos and uncertainty , Public area ( Spica), Ljubljana 2017 Whatever you think I am that is what I’m not –Limbico Cirkulacija2, Ljubljana, April 20th – May 10th 2017 wytitiwin ss 2017, curated by the ghost gallery, Golab, Milan. 2016 Whatever you think i’m that is what i’m not, curated by Federica Bianconi, THE STRANGE DAYS, Parma 2016 Whatever you think i’m that is what I’m not, curated by the Ghost Gallery, PARTY EVE, Milan 2012 OVERLAPPING, VOLCANO EXTRAVAGANZA, curated by Milovan Farronato, Fiorucci Art Trust, Stromboli 2011 GOLDENBOY, Galleria Davide Di Maggio, Milan 2010 Butterly etude (art installation formalised in a large-scale photo), Carbonia, Cagliari SELECTED GROUP EXHIBITIONS 2019 Casa come Me, curated by Arianna Rosica and Gianluca Riccio, Villa Lysis, Capri. 2019 Cacophonia Cacovisia, An exaggeration to the limits of over-saturation. The main line of (over)saturation will draw on light sources, using both simple and complex movable mechanisms, producing images as shadows (shadow play), transparencies, scans, flickering. The sound will be picked up using light sensors on shadowy surfaces and directly processed, thus establishing a closed-loop (cybernetic) system. Production: @LJUDMILA and Projekt Atol. The project is supported by the City of Ljubljana – Department of Culture and the Ministry of Culture of the Republic of Slovenia. 2019 ISA (immaginario sentimentale abruzzese) curated by Daniela Pietranico, Museo Vittoria Colonna, Pescara, Italy 2018 All are We are all, curated by Riccardo Lisi, Spazio Morel, Lugano, Switzerland 2017 Grotesque, curated by Paolo Gonzato, Sala Delle Colonne, Corbetta, Milan 2017 Drawings from Lightning, exhibition and book Presentation, Project curated by Laura Santamaria, Madeinbritaly, London. 2016 Drawings from Lightning, curated by Laura Santamaria, Fonderia Battaglia, Milan 2015 ID-ENTITY, Mars, Milano 2013 Sulcis Oddity, curated by Emiliana Sabiu, MACC – Museum of Contemporary Art, Calasetta, Cagliari 2013 ARIMORTIS, curated by Roberto Cuoghi and Milovan Farronato, Museo del Novecento, Milano 2012 Personal effect on sale, a project by Sissi, Marco Scotti, David Casini, Francesco Calzolari, Padiglione dell’esprit noveau, Bologna 2010 Il raccolto d’autunno è stato abbondante, curated by Milovan Farronato, Viafarini DOCVA Fabbrica del Vapore, Milan 2009 L’Indiano in Giardino, curated by Santo Talone e Alek O, various public spaces, Milan 2006 CHI ICH, curated by Bert Theis, Palazzo delle Stelline, Milan 2005 Revolution is on hold, curated by Adrian Paci, Stecca degli, Milan 2003 Fragment d’un Discours Italien, curated by Christian Bernard, Museum of Modern and Contemporary Art MAMCO, Geneva 2002 OUT-PUT (OUT – Office for urban transformation, Bert Theis/Alessandro Di Giampietro), curated by Noah Stolz, Galleria Ciocca, Milan. 2002 Revolution is on hold curated By Adrian Paci, Stecca degli Artigiani, Milan WORKSHOP 2014 The portrait as aptitude for creative transgression, conversation with Milovan Farronato, IUAV – Venice University, BA course in Multimedia Art department 2014 Roadside Picnic 3, workshop in drama costumes, a project by Fiorucci Art Trust, Hilton Palace, Sorrento 2012 Camouflage, art on hiding and revealing, Natural Science Museum, Milan OTHER PROJECTS 2016-2019 Visualizations and experimental movies for balans concerts 2018 Cd covers for Balans band Group 2017 Drawings from Lightning, Artist Book, project by Laura Santamaria. 2016 Visualizations and moton picture for Gino Lucente concert, c-r-u-d a place where …, Milan 2016 EIGHTGRAMS, jewellery, a selection of unique pieces made of eight grams of pure gold 2012 Rolling Stone, Roadside Picnic / Stromboli, a project by Fiorucci Art Trust, by Salerno Editrice MAGAZINES 2018 Hunter Fashion Magazine (fall/winter 2018 issue) 2017 Elle magazine Slovenija (January 2018 issue) 2013 – 2015 Dapper Dan (UK), Vanidad (SPA) 125 Magazine (UK), Stern (UK), Arkitip (USA), Flashart Italia, Exitbart, Neo2 (ES), Rojo (ES), Frieze Magazine (UK), Soma Magazine (USA) 2007 – 2013 Butt Magazine (NL), Marie Claire (IT), Dazed and Confused (UK), A Magazine, Vice Magazine, Rolling Stone Magazine, The End, SPEX Magazine (DE), Oyster (AUS), Fashion Magazine, Slurp Magazine, Crash Magazine, Gomma Magazine (UK), Idomenee 2002 – 2007 D della Repubblica, Nylon Magazine (USA), Donna (IT), Urban Magazine, Blackbook (USA), Caffelatte, Idomenee (FR), Muteen (FR) 1999 – 2001 Grazia (IT), Io Donna (IT), Kult Magazine, (ITA http://www.alessandrodigiampietro.com email@example.com
Duccio Maria Gambi
Julien Gallardeaux de Gomes
I am an artist born in Paris, who’s currently living and working in Lisbon. I started learning classical painting from a young age, and later I was able to experiment on new techniques, optimizing my vision of painting and art, also going through the field of sculpture and installation. – Julien Gallardeaux de Gomes Julien Gallardeaux de Gomes é um artista Português, que actualmente trabalha e reside em Lisboa. Nascido em Paris no ano de 1992, começou desde muito jovem a aprendizagem na pintura clássica, tendo ingressado num estúdio aos 9 anos de idade, para praticar a pintura a óleo. Aos 18 anos, ingressou na Escola Superior de Arte e Design (ESAD), nas Caldas da Rainha, onde pôde experimentar múltiplas novas técnicas, e onde optimizou a sua visão sobre a pintura e arte, tendo também passado pelo campo da escultura e da instalação. Aos 21, mudou-se para Itália, pelo programa ERASMUS, para a Accademia di Belle Arti di Venezia, onde praticou quase exclusivamente pintura e desenho, respondendo ao carácter mais clássico da instituição. Presentemente trabalha unicamente no desenho e na pintura como forma de sustento, sendo o retrato a sua especialidade.
Carlos Mota, born in Ponta Delgada, Portugal, graduated in Interior Architecture at CAD – Centre des Arts Décoratifs and Painting at École des Arts D’lxelles in Brussels, Belgium. He currently lives and works in Lisbon. Since 1993, Mota frequently does solo and collective exhibitions both nationally and internationally. His work has been showcased in both public and private collections in various countries, such as: Portugal, Spain, Italy, Belgium, Germany, Holland, Denmark, Mexico, USA, Canada and Brazil. Collections Portugal, Spain, Italy, Belgium, Germany, Holland, Denmark, Mexico and Brazil; Carlos Machado Museum, Ponta Delgada; Regional Department of Tourism and Culture, Madeira; Embassy of Portugal, Brussels; City Council of Lagoa, Azores; Municipal Gallery of Caloura, Azores; Walter Grossman Art Gallery – University of Massachusetts, Boston; General Consulate of Portugal, Boston; Portuguese Medical Association (South Region), General Consulate of Portugal, Toronto; City Council of Ponta Delgada. Piece in the Federal Presidency of Brazil’s private collection, Planalto Palace in Brasília, Brazil. Work on collection at the Centre Museum, Baku, Azerbaijan Filmography From the years 1993 to 2002, his career was brought to life on a film called “Soul Adventures” (“Aventuras do Espírito”) by director Teresa Tomé and broadcast on a cultural show on the chanels RTP/Açores and RTP2. Invited by philosopher José Neto in the show “The art and mind of…” (“A arte e a mente de…”). Film by Álvaro Queiroz, in the Portuguese CINEMATECA collection for future reference Editions EDIT Magazine, LUX Woman, URBANA Magazine HABITAT – Brasília, HABITAT Belo Horizonte A PACT WITH ART: celebrating 30 years of the Arts Academy of the Azores (UM PACTO COM AS ARTES: 30 anos da Academia das Artes dos Açores) Awards MAC 2017 “30years of Career in Painting” – MAC Movimento Arte Comtemporânea Gallery. Series “GREAT FINDS”, Ouro preto, Minas Gerais , Brazil he was the first contemporary Portuguese and foreign artist to be invited to have a piece in the permanent private collection of the Federal Presidency of Brazil at the Planalto Palace. Such piece is 400×80 (cm). The project “GREAT FINDS” ended with an exhibition and an edition that will be published in a didactic art book for the 6th grade in Brazil. With authorship by Emanuella Kalil and Franco Caldas Fuchs and published by Editora Positivo – ARTE E ICONOGRAFIA, one of the biggest publishers in Brazil.
Addentrarsi nella vita di una persona è come affrontare un viaggio verso l’ignoto. Addentrarsi nella vita di un artista è come affrontare un viaggio verso l’ignoto con una piccola consapevolezza: il percorso sarà costellato di sorprese, fascinazioni, intuizioni. Quid fondamentale sono le tappe, fil rouge esistenziale, respiro e passo di un tragitto che guida lo sconosciuto. Ed il viaggio artistico ed esistenziale di Fabio Ricciardiello, si avvia mediante un prologo ed uno svolgimento che, alla geografia, hanno assegnato un ruolo principe. Nato a Napoli, Ricciardiello cresce in una atmosfera densa della magia partenopea, si forma all’Accademia delle Belle Arti, sotto l’egida, tra gli altri, di Massimo Bignardi. Gli anni in Accademia scandiscono un tempo dall’approccio pluridisciplinare, in cui, in particolare, la scultura si rivela medium in grado di far emergere l’azione lirica dalla lavorazione della materia, con la quale Ricciardiello avvia i primi passi della sua prima stagione espositiva, dal 1999 al 2003, curata, spesso, proprio dal Bignardi, con successo di pubblico e critica, sino alla sua prima personale, nel 2003 a Bologna, nella storica Galleria L’Ariete. A cura di Silvia Evangelisti, la mostra genera una svolta nella ricerca del giovane artista, votatasi alla commistione idiomatica, ove alla scultura subentra, affiancandovisi, la fotografia. Tale mutamento si concretizza anche nella vita personale: Ricciardiello lascia Napoli alla volta di Milano, dove frequenta l’Istituto ‘Riccardo Bauer’, dopo il quale entra a far parte del fantasmagorico universo della moda. Esso, per ben 15 anni, è stato il suo mondo, abitato grazie allo slancio della fotografia ma anche del design. In quel periodo, infatti, Fabio Ricciardiello ha costruito la propria carriera come fotografo di moda, divenendo noto con lo pseudonimo di Fabio Costì, ricoprendo anche il ruolo creativo di art director per diverse case di moda. Alla fotografia ha alternato una immersione nel design, in veste di illustratore per importanti maisons italiane, francese e cinesi e di scenografo per una sfilata a Pechino, sino a quando, la sua creatività gli ha permesso persino di entrare appieno nel tourbillon del prêt-à-porter, creando due capsule collections a partire dai suoi grafismi, apprezzati e riconducibili al suo stile. Tale eclettismo si pone quale tratto distintivo della ricerca posta in atto da Fabio Ricciardiello che, nel 2019, dopo una residenza artistica a Faenza, ha deciso di ritornare a dialogare con la materia e con la scultura, riprendendo le fila del suo primigenio itinerario estetico ed estremizzandone la tecnica, sino ad ottenere risultati mirabili ed unici, culminati in un progetto espositivo peculiare ed immaginifico, Life Vest Under Your Seat, curato da Giovanni Gardini. Il tempo corre veloce, spingendo Ricciardiello ad accelerare il proprio passo; accanto alla personale riscoperta della scultura – che è stato sguardo del sé introiettato nel proprio passato e, forse, inconsciamente legato a quella alchimia scultorea barocca partenopea od alla grafia di luci ed ombre traslata mediante il mezzo fotografico che hanno segnato gran parte del percorso dell’artista – ecco che segue una mostra personale a Monaco di Baviera di narrazione fotografica ed altri progetti in Portogallo ed a Milano, tappe che aprono le porte del nuovo anno in grande ed appassionata corsa. Se si volesse tracciare una mappa del cammino percorso sinora da Fabio Ricciardiello, certamente, il filo conduttore sarebbe dipanato da un linguaggio plurimo, composito, in cui differenti idiomi dialogano armonicamente: scultura e fotografia in primis, pittura, illustrazione e design subito dopo. Una grammatica la cui visione d’insieme convoglia le ‘regole’ della fotografia, ovvero uno sguardo attento al dettaglio, in grado di lasciarlo poi affiorare nel reale, grazie alla voluttà della materia. Essenza tangibile, quest’ultima, tramite cui Ricciardiello crea universi perturbanti, surreali, latori di una ‘illusione del reale, con un lieto fine’ e mediante cui apre un varco verso dimensioni insondate, stranianti e pronte a porsi come viatico per infiniti viaggi.
Creative studio founded in 2007 in Paris. Curious about new projects and encounters, the studio is characterised by a multidisciplinary dimension : design, art direction, space and contemporary art. Experimentation, research and fun. 12 rue Saint-Sabin Paris 11e +33 (0)6 16 14 28 92 | firstname.lastname@example.org Curieux de nouveaux projets et rencontres, le studio se caractérise par une dimension pluridisciplinaire : design, direction artistique, espace et création contemporaine. Il développe avec la volonté forte et rigoureuse de créer pour chaque nouvelle commande, nouveau projet, une approche sur-mesure qui naît d’un plaisir commun de travailler ensemble, du contexte et de la demande.
Czech, b. 1935 Jan Saudek was born in Prague on May 13, 1935. He worked in various departments of the State Printing Works from 1950 through 1970, and started making his own photographs in 1951. He began to hand paint his images in 1977. Saudek’s pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek’s collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek’s pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; Bibliothèque Nationale, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.
Studio B Severin
JESUS RAFAEL SOTO
Jesús Rafael Soto (June 5, 1923 – January 17, 2005) was a Venezuelan op and kinetic artist, a sculptor and a painter. His works can be found in the collections of the main museums of the world, including Tate (London), Museum Ludwig (Germany), Centre Georges Pompidou (Paris), Galleria Nazionale d’Arte Moderna (Roma) and MoMA (New York). One of the main museums of art in Venezuela, in his home town, has his name in tribute to him. https://en.wikipedia.org/wiki/Jes%C3%BAs_Rafael_Soto Em sua adolescência, trabalhou como artista comercial, pintando quadros para teatros locais. Em 1942, ganhou uma bolsa para estudar na Escola de Artes Plásticas de Caracas, onde conheceu Carlos Cruz-Díez e Alejandro Otero. Ao tomar contato com uma pintura cubista de Georges Braque, ficou interessado em formas geométricas de expressão. Logo depois de se formar, dirigiu a Escola de Artes Plásticas de Maracaibo de 1947 a 1950, quando mudou-se para Paris. Lá, iniciou sua ligação com o abstracionismo geométrico e a arte cinética, associando-se a Yaacov Agam, Jean Tinguely, Victor Vasarely e outros artistas conectados ao Salon des Réalités Nouvelles e à Galeria Denise René. Por volta de 1951, o venezuelano começou a expor obras que envolviam um elemento de vibração, através da repetição dos elementos formais. Para ele, o uso da repetição era uma maneira de se libertar dos conceitos formais da arte tradicional, que estava ligada à arte figurativa. Ele achava que a verdadeira arte abstrata só poderia se transfigurar com a performance do movimento. Nas repetições ópticas, desenvolveu trabalhos em alto relevo, que lhe renderam o status de pintor e escultor. Em 1953, Soto começou a investigar possibilidades de aprimorar seu estilo de criar novos efeitos ópticos. Pela primeira vez, fez uso de motivos cinéticos em sua obra. O artista aplicou, em seguida, os princípios da sobreposição dos motivos de tramas curvas ou das elipses. A seguir, produziu uma série de estruturas cinéticas que seriam exibidas em 1956. A partir dos anos 70, Soto expôs em lugares como o MOMA e o Museu Guggenheim, em Nova York, o Centre Georges Pompidou, em Paris. Participou da Bienal de Veneza de 1966 e da Bienal de São Paulo em 1996.
Rute de Carvalho Magalhães (n. 1984) is a photographer and has dedicated her professional life to the visual arts. In 2007 she began his photography work in various types of historical or alternative photographic processes,such as cyanotype, bi-chromated gum or wet collodion. In 2011 she did photography training at ar.co in Lisbon, and the following year he did another one on Colossus Dank with Quinn Jacobson at the Center Iris in Paris.
1972 Alessandro Zambelli studied industrial design and materials engineering at the Cova School of Design in Milan, and his career took off in 2000. After several years in Milan, he chose the Mantua countryside as a place to live and work: a territory rich in history, in references and atmosphere that is a continual inspiration for his work. The design work of Alessandro Zambelli speaks a new language – imaginary and real at the same time – maintaining and rediscovering the memory of a deep-seated remembrance: from which “sensitive objects”, are born, enveloped in a subtle irony and capable of embodying powerful poetic traits, which leads to very simple gestures and sensations that are familiar to us; objects that can establish a dialogue with those who choose them, each time creating different narratives, sometimes surprising and unexpected. The designs of Alessandro Zambelli are industrial productions or manual experiments: two different types of approach that converge in the same design philosophy, where often one intersects another and vice-versa; they have attained numerous awards, including the European Consumer Choice 2011, the NYIGF Award 2012, the ADI Award for Innovation 2014, the Interior Innovation Award 2015 and the Premio dei Premi 2015, established by the President of the Italian Republic. The designer has exhibited his work in Europe, USA, China, Korea and Japan.