Lafayette Section


bgfdLambdaLambdaLamda_booth at Lafayette Section | Photocredit: Aurélien Mole

In her practice Tatjana Danneberg investigates signs, symbols, and questions about integrity – in a general sense, but also in terms of the uniqueness and validity of an artwork itself: how can it construct an illusion, where is the gap between imitation, fake and “original”, and how can the relation between imagination and reality be dis- played? In this vein she examines surfaces with a speci c interest in the very moment when a surface fails to show an intact image or form.

Tatjana’s paintings are primarily created on a foil, then “peeled o ” the surface and later with help of a binding solvent transferred to the canvas. She uses a similar tech- nique for the photographic elements in her works. Those are images printed on vinyl, where the application of paint on the print enables them to be disconnected from the vinyl and in further steps get moved onto the canvas. In this procedure, the surface of the images rips open, gets somewhat destroyed, which is metaphorically building a bridge between the observer and what lays beyond- behind the image. The paintings are like transmitters, or windows, trying to capture one speci c yet maybe not existing moment, the glimpse of a thought or a memory.

Through the process of ipping the painted surface, the foreground becomes back- ground, and what is rst not intended to be shown, gets eventually visible – reversed steps underline the time frame within the image, in a manner of recalling memories. Painterly gestures, in their most basic forms of color, pattern, intensity and rhythm are combined, manipulated and organically infused with photographic images. In her most recent paintings Tatjana Danneberg uses scienti c photographs that were taken by Victor 6000, a robotic submarine, at the bottom of the sea in total absence of human hand as well as reach. Opposed to the current thematization of the Anthropocene, with its emphasis on humans shaping nature, this series suggests a di erent scenario, namely a glimpse of what exists beyond our reach. As usually the case in her painting-collages the artists creates windows to another realm by break- ing through the surface of images. Tatjana Danneberg, born in 1991, lives in Vienna. She graduated from the Acadamy of Fine Arts Vienna (class of Heimo Zobernig). Her recent solo exhibitions include: SORT, Vienna (2017); Galeria Dawid Radziszewski (together with Soshiro Matsubara), Warsaw (2016) and LambdaLambdaLambda, Prishtina (2015). She participated in group exhibitions at Carl Kostyal, Stockholm, (2017) and Shanaynay, Paris (2015).

The idea of longing for someone or something impalpable is what Dardan Zhegrova explores in his poetic works that are strongly informed by his interest in the pair of opposites: proximity and distance. The multimedia work exhibited at FIAC evolves around the notion of touch and the question of how to preserve the transparent traces thereof in memory and further how to nd a form for that.

Dardan Zhegrova, born in 1991, lives in Prishtina. His most recent group exhibitions include: Park View, Los Angeles (2017); National Gallery Kosovo (2017); Galerie Sul- tana, Paris (2016); FeKK short lm festival, Ljubljana (2016); Swimming Pool So a, Frankfurt am Main (2016) and Baushtelle: Balkan Temple, Zurich/Belgrade/Pristina (2015). His recent solo exhibitions and performances include: Stacion – Center for Contemporary Art Prishtina, (together with Lola Sylaj), Prishtina (2017); De-Con- strukt (together with Lola Sylaj), NYC (2017); M, Prishtina (2016) and LambdaLambdaLambda, Prishtina (2015). He was awarded with the Gjion Mili Prize of the National Gallery Kosovo (2017).


TOP 10 | FIAC 2017

PERES PROJECT | Donna Huanca

Peres Project | Donna HuancaDonna Huanca, Meat Curtain 2016, Courtesy of Peres Project, Berlin

Donna Huanca’s installations fuse tactile materials, such as clothing and ephemera to create architectural collages that are performative in nature. Working primarily with deconstructed clothing, dipped in paint and solidified, her sculptural gestures pause a once-fluid life of the garment. During Huanca’s durational performances the works interact with the vulnerability of live models, camouflaged and infused into the sculpture, giving life to otherwise static artworks. Born in Chicago, Huanca received a BFA in Painting from the University of Houston and studied at Stadelschule, Frankfurt, Germany. In 2012 Huanca was awarded a Fulbright Scholarship to live and work in Mexico City. Publications of her work have been featured in Art Forum, DUST, Wire, British Vogue, ArtInfo, Art in America, and the Younger than Jesus Artist Directory published by the New Museum, New York amongst others. Recent exhibitions include: MUSCLE MEMORY at Peres Projects, Berlin, WATER SCARS at Valentin, Paris, PSYCHOTRIA ELATA at Art Berlin Contemporary, Berlin, Germany, SADE ROOM (famously reclusive) at MoMA PS1 Printshop New York, SEEING AURAS at ltd Los Angeles, RAW MATERIAL at Malmö Konsthall, Sweden, PANIC FEAR CRYING FITS at Preteen Gallery, Mexico City.

Peres Project


raffaellaKarla Black, In Place of Requirements 2016, Galleria Raffaella Cortese

Karla Black currently lives and works in Glasgow. She creates abstract sculptures using a combination of everyday materials including powder, soap, gels, and pastes, along with more traditional media such as plaster, chalk, paint, and paper. Carefully arranged on the floor or suspended from the ceiling, they are typically made on site and include direct evidence of the process of their creation through fingerprints and dust. Delicate, messy, sensuous, and visceral, they testify to a physical experience of the world that lies beyond metaphorical and symbolic references.
Poised between form and anti-form, they emerge like transitional states or naturally occurring sediments. Black was born in 1972 in Alexandria, Scotland. She received her B.F.A. in sculpture in 1999 from the Glasgow School of Art, followed by her M.F.A. in 2004. In 2014, Black joined David Zwirner and had her first gallery solo exhibition in New York the same year. In 2016, a solo show, featuring new and recent work by the artist, was presented at David Zwirner, New York. Since the early 2000s, Black’s work has been the subject of solo exhibitions at prominent institutions, including a presentation of new sculptures shown in 2013 at the kestnergesellschaft in Hanover, Germany. Also on view in 2013 was her first museum show in the United States hosted by the Institute of Contemporary Art in Philadelphia. 


22662788_10213053021413663_2138577357_o (1)Talia Chetrit, Ever (Swing), 2014 / 2016, Kaufmann Repetto

Talia Chetrit was born in 1982 in Washington DC. She lives and works in New York, NY. Her career has been an ongoing exploration of what remains hidden in the practice and mechanisms of photography. Her works make frequent use of isolation, obscuration, and distortion, such that her subjects become abstracted and not immediately recognizable. She also inverts conventions of positive and negative space, horizontal and vertical orientation—these extreme effects are not the outcome of post-production processes, but are actually the product of a skillful technical grasp of the medium. There is often an underlying psychological or intimate narrative underpinning the works. In a recent series, she revisited some of the first rolls of film she shot in the 1990s of her own family; other works allude more explicitly to sexuality and the body.

Kaufmann Repetto


mKMiriam Cahn, Desaster 2016, Jocelyn Wolff

Miriam Cahn is a Swiss painter, she makes intimate, haunting paintings and drawings of semi-ambiguous figures, animals, and landscapes imbued with quiet emotion. Influenced by the black-and-white images she was exposed to through early television and reproductions in art history textbooks, Cahn used only black, white, and shades of gray in her early work. She began using color in 1994, turned on to the formal and psychological power of mass media imagery and its gradual saturation. She cites Michelangelo Antonioni’s 1964 film Il deserto rosso (Red Desert) as a work that exposed her to the hyper-reality of color. With exquisite sensitivity, Cahn uses color to highlight choice parts of her figures—principally the genitals, breasts, lips, or eyes—suggesting fragility and fecundity and endowing her figures with a sense of inner life.

Jocelyn Wolff


22664076_10213053097495565_351733357_oKader Attia, Modern Architecture Genealogy 2014, Lehmann Maupin

French-Algerian artist Kader Attia began his practice with photography before moving to collage, sculpture, and large-scale installation. His work does not conform to one visual aesthetic but is informed by his concept of repair, which he sees as a way to explore Western and non-Western approaches to history and politics in terms of a constant restitching of cultural identity. His philosophical, research-based installations draw on themes of architecture, the body, and religion, often employing postcolonial references within museological modes of display.


katja Novitskova

Katja Novitskova, Approximation (C. Elegans, long tail) 2017, Kraupa-Tuskany, Zeidler

Katja Novitskova, born 1984 in Tallinn, Estonia, lives and works in Berlin and Amsterdam. She was artist in residence at the Rijksakademie van Beeldende Kunsten in Amsterdam from 2013 to 2015. Novitskova’s works includes cutouts from digital imagery, sculptures, installations and artist publications. In her work she examines ecological and information systems, through an engagement with digital data, exploring the co-evolution of planetary ecosystems and species and the competing forces of human expansion and biodiversity. In 2010, she published the influential artist book the ‘Post Internet Survival Guide’ and in 2016 her second artist book ‘Dawn Mission’ was published with the Kunstverein in Hamburg. She had her first solo exhibition at Kraupa-Tuskany Zeidler, Berlin in 2012. Since then her work has been exhibited internationally in solo and group exhibitions including the CCS Bard, New York (2012); Fridericianum, Kassel (2013); Astrup Fearnley Museum, Oslo (2014); Kunsthalle Lissabon (2015, solo); 13e Biennale de Lyonn (2015/2016); The Museum of Modern Art, New York (2015); the 9th Berlin Biennale for Contemporary Art (2016); Kunstverein in Hamburg (2016, solo); Okayama Art Summit, (2016); Yuz Museum, Shanghai (2016); Museum Folkwang, Essen (Nam June Paik Award 2016); Greene Naftali, New York (2016, solo). Besides the Estonian Pavilion at the 57th Venice Biennale upcoming solo and group exhibitions include The Museum of Contemporary Art Kiasma, Helsinki; K11 Art Foundation, Shanghai; Schirn Kunsthalle, Frankfurt; Kunsthal Charlottenborg, Copenhagen; The Public Art Fund, New York (solo). Her work is in the collections of Astrup Fearnley Museum, Oslo; Moderna Museet, Stockholm; Museum Ludwig, Cologne; Kumu Art Museum, Estonia; Yuz Museum, Shanghai; Fondazione Sandretto Re Rebaudengo, Turin; K11 Art Foundation, Shanghai; CC Foundation, Shanghai; Ishikawa Foundation, Okayama; Boros Collection, Berlin; Ringier Collection, Zurich; Rubell Family Collection, Miami; Aishti Art Foundation, Beirut and Sishang Art Museum, Beijing. Her work has been featured in Art Forum, Art Review, Frieze, Mousse, Metropo lis M and Leap, amongst others. Katja Novitskova is represented by Kraupa-Tuskany Zeidler, Berlin and Greene Naftali, New York.

Kraupa-Tuskany, Zeidler

EVA PRESENHUBER | Michael Williams


Michael Williams, Windsurfing 2017, Eva Presenhuber

Michael Williams has been animating the art world with his colorful and quirky paintings for over a decade ever since his solo debut at New York’s Canada gallery in 2007. Aside from early experiments with oil painting, the artist has gradually phased out the use of the brush and since 2013 has developed a unique technical approach using a number of mediums including airbrush, digital inkjet printing, and oil paint to develop his energetic and eclectic works. Throughout his constantly evolving body of work he has maintained a very distinct visual language characterized by a bold palette, layered imagery dotted with quirky, oddball references to pop culture and art history. 

The unique style and process earned Williams critical plaudits and international gallery shows in Denmark, Italy, Germany, and Switzerland, as well as a solo museum show at Canada’s Musée des Beaux-Arts de Montreal in 2015. That same year Gladstone Gallery announced the co-representation of the artist, together with New York’s Canada gallery. The artist is also represented internationally by Presenhuber in Zurich. 

Eva Presenhuber

ZERO…| Adam Gordon

22712054_10213053209498365_1599492121_oAdam Gordon, Untitled 2017, Zero…

Adam Gordon lives and works in New York, NY. He received his MFA from Yale University in 2011 His work has recently been exhibited at Andrew Kreps, NY; National Exemplar, NY; Night Gallery, LA; Know More Games, NY and Derek Eller Gallery, NY. Gordon’s multi-disciplinary practice focuses on the construction of experience. Through methodically manipulating the senses and relying on lived experience, he sets an enigmatic tone, one that peels back the layers of the banal while setting the stage for the re-examination of the physical and emotional self. All the while challenging an inherent need for a defined narrative by pushing the boundaries between reality and fiction. Through the disruption of the mechanisms that customarily govern the art viewing process, he creates works that envelop and are all consuming.



Hernan BasHernan Bas, Bloomsbry revisited (parroting) 2017, Galerie Peter Kilchmann 

Born in 1978 in Miami, Florida, Hernan Bas creates works born of literary intrigue and tinged with nihilistic romanticism and old world imagery. Influenced by the Aesthetic and Decadent writers of the 19th century, in particular Oscar Wilde and Joris-Karl Huysman, Bas’s works weave together stories of adolescent adventures and the paranormal with classical poetry, religious stories, mythology and literature. Bas’s work has been exhibited in numerous solo exhibitions around the world, including a major presentation at the Rubell Family Collection, Miami, in 2007, which subsequently traveled to the Brooklyn Museum of Art in 2008, and a retrospective exhibition at the Kunstverein Hannover, Germany, in 2012. In 2013, Bas presented the multi-media installation, TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami, FL and in 2014, Rizzoli published a monograph on the artist, the most comprehensive book of his work to date. Bas has participated in a number of important group exhibitions, including “The Collectors,” curated by Elmgreen & Dragset for the Nordic and Danish Pavilions at the 53rd Venice Biennale (2009); Triumph of Painting: Part III, Saatchi Gallery, London, and Ideal Worlds – New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (both 2005); and the 2004 Whitney Biennale. His work is part of the permanent collections of New York’s Brooklyn Museum of Art, The Museum of Modern Art, and Whitney Museum of American Art; as well as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, North Miami, and San Francisco Museum of Modern Art, among others. The artist lives and works in Detroit, Michigan.

Galerie Peter Kilchmann 

BLUM & POE | Henry Taylor

22712683_10213053295140506_933852526_oHenry Taylor, Don’t keep Love a secret. Portrait of Victoria Moreno’s niece (2017), Blum & Poe

Henry Taylor is an American artist and painter who lives and works in Los Angeles, California. Taylor is most well known for his acrylic paintings, mixed media sculptures, and installations. Taylor’s largest output of work is in portraiture: he is known to paint obsessively, on various materials, including empty cigarette packs, detergent boxes, cereal boxes, suitcases, crates, bottles, furniture, and stretched canvas. His subjects include family, friends, patients (when employed at the hospital), acquaintances, strangers, waitresses, celebrities, homeless people, himself, and also historical figures, cultural figures, sports heroes, politicians, and individuals from photographs or other art works.Taylor’s painterly style has been variously described as sensuous, vibrant, bold, fast and loose, full of  empathy, generosity, and love, and the visual equivalent to blues music, while retaining a profound critical social sensibility. His work has been lauded for maintaining an impossible balance between careful and sophisticated art-world references with a seemingly spontaneous and natural expressiveness. Taylor’s oeuvre has been aligned within various American lineages, including the portraiture tradition of Alice Neel, and the work of Harlem Renaissance painters such as Jacob Lawrence and Romare Bearden, and compared with his peer Kerry James Marshall.

Frieze Focus 2017

CARLOS / ISHIKAWA  | Darja Bajagic


Puddles of Blood - Go AheadDarja Bajagic, Puddles of Blood – Go Ahead, 2015, Carlos / Ishikawa

The artworks of Darja Bajagic open up conversations on complex issues such as power struggles between the sexes, censorship, authorship, and the digital landscape. Her work elicits a broad spectrum of reactions and reviews that range from cautiously positive to harshly negative. But to say of her work’s success that “sex sells” or “it’s for shock value” would be reductive. Growing up antisocial and with access to Web TV (an almost ancient way of accessing the Internet), there were only a few things to do: watch game shows and sports, or go on chat rooms. As a girl in her early teens, living in a very protective household, the artist made up several profiles of characters she would play online. Thus began her interest in collecting sexy or raunchy images of women. Her fascination with concealment and misdirection, something that is easily achieved through the Internet, is a common theme permeating her work. Bajagić’s more recent, multi-layered flap paintings flanked with laser cut-outs and patches purchased on eBay, as well as her serial killer art pieces (some of which contain information no one can see without altering the piece’s composition), speak to this idea.

Carlos/ Ishikawa


ARCADIA MISSA  |  Hannah Black


ARCADIA MISSA | Hannah BlackHannah Black | Arcadia Missa

Hannah Black is a conceptual visual artist and writer. Her work spans video, text and performance and draws on communist, feminist, and afropessimist theory, autobiographical fragments, and pop music. Black was born in Manchester, England. She currently lives in Berlin, Germany, but mostly works in London and New York City.  In 2013, Black received a Masters of Fine Arts in Art Writing from the public research institution Goldsmiths College, University of London. From 2013-2014, she lived in New York City where she was a studio participant in the Whitney Independent Study Program. According to Hatty Nestor in Art in America, “Hannah Black’s practice deals primarily with issues of global capitalism, feminist theory, the body and sociopolitical spaces of control.” She is represented by the London gallery Arcadia Missa. In 2014, Black was a contributing editor to the New York-based magazine, The New InquiryIn 2016, Black’s first collection of writing titled Dark Pool Party was published. The book consists of seven texts “that blur the lines of fiction, nonfiction, cultural criticism, critique, and poetry.” In March 2017, Black posted an open letter to the curators of the Whitney Biennial to her Facebook page in response to the painting Open Casket by American artistDana Schutz. Black’s letter advocated for the removal of the painting with the additional “urgent reccomendation” that it be destroyed.

Arcadia Missa


COOPER COLE | Kate Newby


CC_Kate_Newby_2017_Raising_Cattle-Installation-6-696x1024 (1)

Kate Newby, Nobody else believes this story, 2016, Cooper Cole

Kate Newby (b. 1979, Auckland, New Zealand) works with installation, textile, ceramics, casting and glass. Her work explores the limits and nature of sculpture, not only in space but also where and how sculpture happens. She received her DocFA and MFA from the Elam School of Fine Arts at the University of Auckland. She has shown internationally at such venues as Auckland Art Gallery, Hopkinson Mossman, Auckland, New Zealand; Australian Centre for Contemporary Art, Gertrude Contemporary, Melbourne; Minerva, Artspace, Sydney, Australia; Fogo Island Gallery, Newfoundland, Canada; Sculpture Center, Marianne Boesky, Laurel Gitlen, Ludlow 38, New York; Laurel Doody, Los Angeles, USA; Lulu, Mexico City, Mexico; La Loge, Brussels, Belgium; Philipp Pflug Contemporary, Frankfurt, Germany; P420, Bologna, Italy; Josh Lilley, London; Arnolfini, Bristol, UK. Newby currently lives and works between Auckland, New Zealand and Brooklyn, USA.

MURIAS CENTENO | Eduardo Guerra and Miguel Ferrão


MURIAS CENTENO | Eduardo Guerra and Miguel Ferrao.pngMusa Paradisiaca, Intestino-cobra [Intestine-snake], 2013, Murias Centeno

Musa paradisiaca is a dialogue-based artistic project by Eduardo Guerra and Miguel Ferrão. Founded in 2010 on temporary partnerships with individual and collective entities of varying competence, Musa paradisiaca assumes different formats, while always maintaining a discursive and participatory reference. Their work has been presented at various exhibitions, such as “Man with really soft hands” at Galeria Múrias Centeno, Lisbon (2017), “Alma-Bluco” at CRAC Alsace, Altkirch (2015) and “Machinesʼaudition” at Kunsthalle Lissabon (2014). Their recent performances include “The Intimate Knowledge of Things” at Haus der Kulturen der Welt (2017), “Canteen—Machine” at Serralves Museum of Contemporary Art, Porto (2015), “How to catch a fugitive” at Calouste Gulbenkian Foundation, Lisbon (2013) and “Impossible tasks [The Servant of the Cenacle]” at Palais de Tokyo, Paris (2013).

Murias | Centeno

VAVASSORI | Rosa Aiello


VAVASSORI | Rosa Aiello.jpegRosa Aiello, The Demagogue, 2016, Vavassori

Rosa Aiello (b.1987 Hamilton, Canada) works most often with text and video. She lives in Frankfurt, where she is currently studying at the Staedelschule with Peter Fischli. Recent exhibitions include solo shows at OUTPOST, Norwich, at Eli Ping Frances Perkins, New York, and a two-person show at KW, Berlin. Her work has been exhibited at Catherine Bastide, Brussels; De Vleeshal, Middleburg; The Whitney Museum, and Sculp- tureCenter, New York. She is part of the fiction collective Pure Fyction, which began at Staedeslchule with science fiction writer Mark Von Schlegell. Her writings have most recently been published in the Pure Fyction publications Dysfiction II and III, and with Triple Canopy. She holds degrees in literature and theory from McGill University and Oxford University.




Outer Space is the special project presented for our focus on Milan, a matter of exploration during the days of Miart: a space for discovery, experimentation and research on contemporary art, through ten projects proposed by ten of the most active project spaces in Italy. Gathered in ten housing units in FuturDome, in via Paisiello 6 Milan, the exhibition is drawn into the apparent void between cultural institutions and commercial galleries, to prove that this is not a vast absolute vacuum but a generative process of strong art reality. Outer Space is curated by Ginevra Bria with the artistic direction of Atto Belloli Ardessi. The project spaces follow different existing independent spaces models: Almanac (Turin / London), Current (Milan), Ice Dreams Ice (Bologna), The Dictateur (former interior FuturDome), Mega (Milan), Site Specific (Scicli ), T-space (Milan), Tile Project Space (Milan), Treti Galaxie (Turin) and UltraStudio (Pescara). From Milan to Bologna, from Pescara to Scicli, within physical or intangible urban spaces, the project spaces selected tests new territories anticipating the art market and promoting emerging artists through activities addressed to a particular audience, at specific times, filling a vacuum.
In FuturDome the independent spaces are decontextualised respect to their headquarters. They express the strength and the soundness of their inroads into the future of art, showing not only as a temporary reality able to grow and operate, but also capable to define the next generation of artists. Each of hosted spaces stands out for an idea, a personal approach to curatorship and a precise case-study. The experimental matrix is the character that marks each of the Outer Space entities: each one plays a vital role in the art system as a single element and therefore strongly independent. Outer Space brings together a limited number of project spaces, called to relate to each other in the same place. In a housing unit each independent space portrays the constellation of an organic community, through mutual proximity, the different contexts of reference, the points in common and those of distinction, as well as the adventure of a shared space. The exhibition explores, through original projects, allegorically and aesthetically, the matter of the Outer Space. A dimension that returns a broader view on the production and the individual searches that fill a vital galaxy, still unknown inside the Italian art system.

FuturDome.-Un-museo-che-si-abita-courtesy-Atto-Belloli-Ardessi-A-Septica-2016-1 (1)

Besides the curatorial tours offered to visitors, Diego Bergamaschi, collection specialist recognized because of its great attention to the views of the artist-run and curator-run Italian space, will cure the Special visiting tour, a series of guided visits at the invitation that will take place during the days of miart.
Furthermore, on the first floor FuturDome, Zinedine To Agreements cure an environmental talk entitled Refuge in Case of Tropical Storm, specifically designed for Outer Space. The agency will occupy an entire apartment to build a luminous landscape, a narrative indoor tropical garden, as a special area for visitors and as a reference one of knowledge of all ten project spaces.
The project is accompanied by a crowdfunding campaign in collaboration with the platform, a new opportunity to bring the public closer to the world of contemporary art. Among the benefits also offered the opportunity to have a copy of the precious tiles from the early ‘900 that formed the original flooring of FuturDome.
From an idea of one of the founders of the crowdfunding platform BeArt born BeAdvisors, an international independent firm with offices in London and in Milan with a broad spectrum of tax, legal and innovative consultancy services and a specific Department dedicated to the stakeholders of the art world. The first initiative that BeAdvisors will support through BeArt is Outer Space. 

Opening Monday, March 27, 2017, hours 18:00 to 22:00
Exhibition time Tuesday, March 28 to Thursday, April 15
FuturDome, via Paisiello 6, Milan

Curatorial Tour

Friday, March 31 at 17:30 / Saturday, April 1 at 17:30 / Sunday, April 2 at 15.30 / Saturday, April 8 at 17.30


Fondazione Feltrinelli | Herzog & de Meuron
The new building for the Fondazione Feltrinelli, designed by the Swiss architects Herzog & de Meuron, opened on December 2016 in Porta Nuova, confirming once more the relevance that this district is gaining for the city of Milan. The building is settled over a slot left vacant form the bombardments of the Second World War, and its concentration on the Viale Pasubio side of the area permitted to realize a wide public space at its base. Once completed, this new public surface will extend the pedestrian area of the adjacent boulevard, and will work as a connection between the Fondazione Feltrinelli and the remains of the ancient Mura Spagnole, the 16th century fortifications that defined the city’s boundaries. Being inserted in such a context, the architects aimed at creating a linear and clean building, where the constant repetition of the vertical and horizontal partitions creates a regular grid that blends together the steep roof with the façades, and that pays homage to the traditional Cascina rural buildings. Without denying its monumentality, the Fondazione’s new headquarter it’s a kind of exception in today’s architecture production in Milan, where world renowned architectural studios are more likely to be selected to mark the landscape of the city with new sensational buildings that can raise media’s attention.
A diagonal cut, following the orientation of the structure, separates the Fondazione from the new Microsoft offices that moved in a couple of months after the opening. Both companies destined the upper floors to the offices, allowing to host public spaces at the ground level. Fondazione Feltrinelli also saved the last floor, under the dramatic view of the glazed slope that tops the building, for a public reading room, where readers will have access to the document of the historical archives. More important than the architectural result, the program of public activities that Feltrinelli and Microsoft are providing to the neighborhood’s life, stretching from cultural to ludic, will constitute a diversified and not banal counterbalance to the commercial and touristic inclination of the Porta Nuova district.
feltrinelli 2credits ph.Filippo Romano
feltrinelli 3credits ph. Michele Nastasi
Fondazione Feltrinelli


Fondazione Prada Osservatorio | between art and architecture
osservatorio 1.jpgDelfino Sisto Legnani e Marco Cappelletti. Courtesy Fondazione Prada
Not even a couple of years after opening the Milanese venue designed by OMA, Fondazione Prada keeps to invest in the cultural landscape of Milan, inaugurating just before the end of 2016 a new exhibition space dedicated to photography and visual languages. Placed above one of the most visited sites in Milan, the Vittorio Emanuele II Gallery, this new venue called ‘Osservatorio’, offers to the public – thanks to generous floor-to-ceiling glazed openings – original and unusual views over the octagonal dome and arcades of the Gallery.
The project of renovation mixes the intention to restore the original look of the spaces, recovering the authentic wooden finishing of the floor, with the will to deliver a functional and versatile space, establishing a measured balance between refinement and frankness. Walls display a polished concrete finishing, and the ceilings are reinforced with exposed metal structures that dialogue with the iron frames supporting the arcade of the Gallery. Allowing the displayed artworks to face directly the impressive view of the dome, Fondazione Prada offers to the city a new space where architecture and art will benefit from each other’s presence.
osservatorio 2Delfino Sisto Legnani e Marco Cappelletti. Courtesy Fondazione Prada


Citylife | how to place a long term bet on Milan
citylife 2.jpgimage courtesy StrutturaLeggera
The almost completed Citylife district is the next colossal project of transformation of the metropolitan area of Milan, after the construction of the Expo area – whose ultimate end-use is still under discussion, but that keeps to host big events and manifestations, demonstrating that its role can still be relevant for the city after the World Fair – and the renovation of the Porta Nuova and Isola district. Citylife project represents also the umpteenth proof that Milan keeps growing at a rate that is unparalleled by any other city in the country, and at levels that were not imaginable in Italy just ten years ago. Raised over a 255.000 sqm area formerly occupied by the city trade fair complex, the project started back in 2004, with the first design competition, and it is expected to be completed by 2018. The project is symbolized by its already famous business district – formed by the three towers designed by the world-renowned studios of Arata Isozaki & Associates, Zaha Hadid Architects and Studio Libeskind – and will also comprise a residential area, also designed by Zaha Hadid and Daniel Libeskind, commercial activities, and what is planned to be the third main green park of Milan.
This project has obviously originated all kind of attentions, expectations and reactions from media, locals and critics. But behind the clamor, the realization of Citylife district rises many question for the urban planning of the city. Differently from the Expo area, located outside the city center and lacking in the ambition to become an integrated part of the city, this operations is also distant from the experience of the Porta Nuova and Isola renovation, where singular projects inserted themselves in an already constituted part of the urban fabric. Citylife is instead replacing an entire portion of the city, previously occupied by a functional ‘island’ like the trade fair complex. And it will do it by proposing the solution of a luxurious garden city, whose implementation has faced mixed fortunes across the decades, and where residential proposal – whether you like or not the bold aesthetic of Hadid and Libeskind housing projects – is clearly destined to high spending client. There is much expectations and a lot of variables in this project. We will soon know if Milan has won another important bet on its future.
citylife 3image courtesy IThomas91
citylife 1image courtesy Daniel Libeskind Studio


Elena Salmistraro | The sensitive soul of things
Product designer and artist, Elena Salmistrato lives and works in Milan. Graduated at Milano Politecnico in 2008, she founded her own practice Alko_studio together with architect Angelo Stoli in 2009, where she has been working on architectural and design projects ever since. Working as designer and illustrator, Elena took part to many different exhibitions such as L’anima sensibile delle cose (The sensitive soul of things) The New Italian Design and in 2016 to W-Women in Italian Design, all at Triennale Design Museum in Milan; her works has been exposed at the Shangai Biennale in 2013 and within her portfolio you could find creative industries such as BosaSelettiBitossi HomeYooxNasonMorettiMassimo LunardonOkinawaOffiseriaTexturaeDuram.
elena-salmistraro-primates-bosa-maison-et-objet-designboom-1800Elena Salmistraro Primates
Fascinated by the relation between human and physical object, Elena is constantly looking for and researching the balance, an armory between shapes, colors, content: her design language is poetic and mark itself as a different from the classical project panorama. The Nature ist her first inspiration:she follows her instinct, she projects with passion and give birth to objects directly form her fantasy; iconic and figurative subjects full of the finest crafted details. Her last creation Primates, a collection of vases in fine ceramic, designed to remind the delicate relationship between man and ape; ape evokes man, in the shape of the body, expressions and movements: This power of similarity to man is what makes it fascinating and inspiring, it seduces us with their vital force: pattern, colors, shapes.
ghfElena Salmistraro Loricato
Just before it, came Loricato and Kehpri, projects chosen to be exposed at Animalità, an exhibition at the Triennale Design Museum, curated by Silvia Annichiarico. In all these projects animals are the main characters: Loricato talks about the armadillo,which lives in shadows; Native Americans considered it as a unique animal, a sort of inspiring guiding light, able to reassure and comfort the soul, reject hostilities, and overcome fears. The Loricato’s symbolic, initiatic and social meaning lies in its armor; Kehpri from Ancient Egyptians history, regards scarab as a symbol of eternal rebirth, able to transfigure on earth, promising happy events. It is the symbol of constant evolution, through the free soul’s reincarnations. This symbolic and ritual elements reinforce the evocative value of these objects become a memory keeper reminding us of the close relationship we had with animals whose presence in our life has gradually changed due to the man’s living choices.
Senza titoloElena Salmistraro Kehpri
Follow Elena on her instagram profile  considered as one of the most interesting emerging italian designer, Elena’s project are waiting for you at Milan Design Week 2017.


Jaime Hayon | How To Design Happiness

small1-800x533Jaime Hayon TIOVIVO
Spanish artist-designer, Jaime was born in Madrid in 1974. As a teenager, he submerged himself in skateboard culture and graffiti art, the foundation of the detailed, bold-yet-whimsical imagery so imminent in his work today. After studying industrial design in Madrid and Paris he joined Fabrica – the Benetton-funded design and communication academy in Italy- in 1997 where he directed the design department until 2003. In 2000 he founded his studio and dedicated himself fully to his personal projects. His singular vision merges different approaches: blurs the lines between art, decoration and design and a renaissance in finely-crafted, intricate objects within the context of contemporary design culture. 
Jaime Hayon 

He is an artisan. “It is important to remember that my design is made for humans – to be used by humans. I believe that design should provoke emotions. Design should make you feel good. Create happiness.” His spanish heritage and sense of humor are always inherent in everything he creates: in “The Tournament”, the massive chest playground – projected for the London Design Festival “ in 2009 – represent the The Battle of Trafalgar as a game of naval strategy. Elements of the city of London and its history have been encoded on the pieces using Hayon’s very personal style. With “Tiovivo” the site-specific interactive installation on the Carroll Slater Sifly Piazza in front of the High Museum of Art of Atlanta recreates familiar shapes of animals or objects, that inspire playfulness and joy. Each whimsical structure features a colorful pattern and sets of stairs and slides with openings specifically sized for children that encourage guests to interact with the sculptures; this installation transforms the space into an outdoor art gallery, playground, and refuge, creating an atmosphere for socializing and recreation. The boundary within art and design always attract more public and request: be impressed, be involved, be attracted and discover new experience and places through the lens of this works. With Jamie Hayon sometimes it feels to make a jump in the same time in the italian radical design 70’ years, baroque époque and in a Bruno Munari book.
At the Fuorisalone of the Milan Design Week 2017, for FRITZ HOTEL, his interior design project, Via San Carpoforo 9


Eske Rex | The sun crosses the horizon
Divided Self_10_painted marple leash magnets_15x27x7cm_view01_Eske Rex_2015Eske Rex DIVIDED SELF
Danish, indipendent, designer, craft art, materials. These few words define the essence of Eske Rex, danish designer and artist, graduated at The Danish Design School in 2008; he experienced the carpenter work through his apprenticeship in 1999 and is now an independent artist and a material “artisan”. He express his artistic pov through installation and sculpture: the point of departure of his work is always a material and its intrinsic physical and mechanical characteristics. The material is worked to the limits of its inherent ability; fabric is stretched and wood split to the point of breach and their primary characteristics are laid bare in the demonstration of the condensed definite matter. Simple and stylistic, shapes are cleaned and processed off from excess elements which gives space to the public to concentrate and experience those materials on the work are made of. A found poetic silence comes from their presence in the space, a minimal conceptual idea that balances a paradoxal experience between material fetichism and timeless aesthetic. Works like DIVIDED SELF presents suspended wood sculptures, a pairs cutter from a single piece of wood. From the roof and from the ground – opposite floating – the two shapes are involved in an endless and vibrant dance of non-touching. The visitor presence infuences their movements; new images are constantly being produced in the interaction between upper and lower part: the general human feeling of holding multiple personalities.


Eske Rex SUN BED
With SUN BED, in collaboration with Maria Mengel, Eske Rex presents its art at the 2017 Design Week of Milan at the MINDCRAFT17 Exhibition.  SUN BED represent the duality between the night time sleep and dreaming and the sun inviting us to be awake and alert: based on the notions of travel and transition, the 2 artist explored sunrise as a figure and a time span – when ‘just before’ becomes ‘just after’, as line and circle intersect and the sun crosses the horizon.
MINDCRAFT17 Exhibition takes place at Chiostro minore di San Simpliciano, in Piazza Paolo VI 6 a Milano Who wants to see more of Danish? I’m in.