Arduino 颁补苍迟脿蹿辞谤补: Reload e L鈥檜topia Razionalista di Columbus
On the occasion of Milan鈥檚 Art Week and Design Week, Antonio Colombo鈥檚 Gallery deepens its relationship with the Milanese artist Arduino 颁补苍迟脿蹿辞谤补 by radically transforming the setup of the previous show Anamnesi. The new exhibition, entitled 颁补苍迟脿蹿辞谤补 Reload e l鈥檜topia razionalista di Columbus, explores the dialogue between the Modern Language of rationalist furnitures from the 30鈥檚, produced under the brand Columbus, from the Company A.L. Colombo in Milan, and the Postmodern and citationist grammar of 颁补苍迟脿蹿辞谤补鈥榮 painting. The only ecception is the entrance hall which remains unchanged, offering for the first time a side-by-side display of two large-scale artworks, La Citt脿 Banale (1980) and Stanza di Citt脿 鈥� Roma (1983), respectively displayed at the Venice Architecture Biennale in 1980 and at the Venice Art Biennale in 1984.
The idea of this show, renewed both in terms of concepts and contents, steams from the intriguing intertwined destinies of Arduino 颁补苍迟脿蹿辞谤补 and Antonio Colombo. The artist鈥檚 father, Alfonso 颁补苍迟脿蹿辞谤补, was, in fact, the technical director for many years at the company founded by the Milanese industrialist Angelo Luigi Colombo, father of the gallerist, who carried on the business until 2023. On one hand, the artist grew surrounded by Columbus furnitures, made of seamless steel tubes 鈥� drawn, cold-bent, and chrome-plated 鈥� perfect examples of a rational and futuristic conception of interior design. On the other hand, Antonio Colombo witnessed the emergence and the growth of Arduino 颁补苍迟脿蹿辞谤补鈥檚 artistic talent, following its development over time and eventually becoming his gallerist.
颁补苍迟脿蹿辞谤补 Reload e l鈥檜topia razionalista di Columbus is, therefore, a show that draws from the biographical events of the two protagonists to initiate a dialogue between two seemingly opposing aesthetic concepts 鈥� Modernism and Postmodernism 鈥� which find common ground in the subtle web of analogies and correspondences that link 颁补苍迟脿蹿辞谤补鈥檚 painting to the rigorous design of Columbus furnitures.
Among the Columbus furniture pieces produced in the 1930s, this exhibition features a selection of historically significant objects, such as the round table and the cantilever chair, first exhibited in 1933 at the Futurist Pavilion of the V Triennale of Decorative and Modern Industrial Arts 鈥� the first triennale held in Milan, in the building designed by Giovanni Muzio.
The objects produced by A. L. Colombo, with their ultramodern design, were part of the furnishing of the waiting room of a Civil Airport Station, designed by Enrico Prampolini and built in Parco Sempione.
Of great importance is also the cantilever stool, which was exhibited at the same V Triennale in the House on the Lake for the Artist, designed by the Group of Comaschi Architects and Engineers, leading representatives of Larian Rationalism.
The exhibition also includes a prototype of an armchair by Pietro Bottoni, displayed in the Waiting Room for a Doctor at the VI Triennale in 1936. This 鈥淕reat Rest Armchair鈥� featured an innovative and elastic suspension with a cross-frame structure.
In Arduino 颁补苍迟脿蹿辞谤补鈥檚 paiting, the precision and rationality that define Columbus productions are reflected in the way architectural and urban visions adhere to the rigor of descriptive geometry, between perspective glimpses and axonometric projections that the artist immerses in the lyricism of memory.
The new works presented in this exhibitions are, in fact, recent reinterpretations and re-readings of iconographies painted by Cant脿forma between 1970s and 1980s. They are almost D鈥檃pres in the manner of Giorgio De Chirico鈥檚 self-referential works 鈥� reminiscences that the artist sets against abstract backgrounds with a vaguely Neoplasticis flavor, as if they were framed images, snapshots of a 鈥渇uture perfect鈥�, or rather, hypoteses of a past continually reinterpreted through the forms of imposing urban facades and monumental architectural interiors, punctuated by precise chiaroscuro rhythms.
The exhibition will also feature parallel perspectives with enigmatic titles, drawn from The Tempest by Shakespeare, which would later inspire the opening lines of the stories contained in the book Quindici stanze per una casa, published by Einaudi in 1988.
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On the occasion of Milan鈥檚 Art Week and Design Week, Antonio Colombo鈥檚 Gallery deepens its relationship with the Milanese artist Arduino 颁补苍迟脿蹿辞谤补 by radically transforming the setup of the previous show Anamnesi. The new exhibition, entitled 颁补苍迟脿蹿辞谤补 Reload e l鈥檜topia razionalista di Columbus, explores the dialogue between the Modern Language of rationalist furnitures from the 30鈥檚, produced under the brand Columbus, from the Company A.L. Colombo in Milan, and the Postmodern and citationist grammar of 颁补苍迟脿蹿辞谤补鈥榮 painting. The only ecception is the entrance hall which remains unchanged, offering for the first time a side-by-side display of two large-scale artworks, La Citt脿 Banale (1980) and Stanza di Citt脿 鈥� Roma (1983), respectively displayed at the Venice Architecture Biennale in 1980 and at the Venice Art Biennale in 1984.
The idea of this show, renewed both in terms of concepts and contents, steams from the intriguing intertwined destinies of Arduino 颁补苍迟脿蹿辞谤补 and Antonio Colombo. The artist鈥檚 father, Alfonso 颁补苍迟脿蹿辞谤补, was, in fact, the technical director for many years at the company founded by the Milanese industrialist Angelo Luigi Colombo, father of the gallerist, who carried on the business until 2023. On one hand, the artist grew surrounded by Columbus furnitures, made of seamless steel tubes 鈥� drawn, cold-bent, and chrome-plated 鈥� perfect examples of a rational and futuristic conception of interior design. On the other hand, Antonio Colombo witnessed the emergence and the growth of Arduino 颁补苍迟脿蹿辞谤补鈥檚 artistic talent, following its development over time and eventually becoming his gallerist.
颁补苍迟脿蹿辞谤补 Reload e l鈥檜topia razionalista di Columbus is, therefore, a show that draws from the biographical events of the two protagonists to initiate a dialogue between two seemingly opposing aesthetic concepts 鈥� Modernism and Postmodernism 鈥� which find common ground in the subtle web of analogies and correspondences that link 颁补苍迟脿蹿辞谤补鈥檚 painting to the rigorous design of Columbus furnitures.
Among the Columbus furniture pieces produced in the 1930s, this exhibition features a selection of historically significant objects, such as the round table and the cantilever chair, first exhibited in 1933 at the Futurist Pavilion of the V Triennale of Decorative and Modern Industrial Arts 鈥� the first triennale held in Milan, in the building designed by Giovanni Muzio.
The objects produced by A. L. Colombo, with their ultramodern design, were part of the furnishing of the waiting room of a Civil Airport Station, designed by Enrico Prampolini and built in Parco Sempione.
Of great importance is also the cantilever stool, which was exhibited at the same V Triennale in the House on the Lake for the Artist, designed by the Group of Comaschi Architects and Engineers, leading representatives of Larian Rationalism.
The exhibition also includes a prototype of an armchair by Pietro Bottoni, displayed in the Waiting Room for a Doctor at the VI Triennale in 1936. This 鈥淕reat Rest Armchair鈥� featured an innovative and elastic suspension with a cross-frame structure.
In Arduino 颁补苍迟脿蹿辞谤补鈥檚 paiting, the precision and rationality that define Columbus productions are reflected in the way architectural and urban visions adhere to the rigor of descriptive geometry, between perspective glimpses and axonometric projections that the artist immerses in the lyricism of memory.
The new works presented in this exhibitions are, in fact, recent reinterpretations and re-readings of iconographies painted by Cant脿forma between 1970s and 1980s. They are almost D鈥檃pres in the manner of Giorgio De Chirico鈥檚 self-referential works 鈥� reminiscences that the artist sets against abstract backgrounds with a vaguely Neoplasticis flavor, as if they were framed images, snapshots of a 鈥渇uture perfect鈥�, or rather, hypoteses of a past continually reinterpreted through the forms of imposing urban facades and monumental architectural interiors, punctuated by precise chiaroscuro rhythms.
The exhibition will also feature parallel perspectives with enigmatic titles, drawn from The Tempest by Shakespeare, which would later inspire the opening lines of the stories contained in the book Quindici stanze per una casa, published by Einaudi in 1988.
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