ph : Cristina Galliena Bohman, edit : Valentina Cunja

Quello che inizialmente, infatti, era percepito come un approccio “anomalo, settoriale, complicato”, oggi sembra essere ormai un metodo recepito a livello generale. Vuoi per un mondo in perenne comunicazione dove la socialità spesso si sostituisce al giornalismo classico o per un nuovo modo di avvicinarsi al prodotto, più curioso e consapevole, di fatto oggi la scelta di affidarsi ad un progetto espositivo significa dare corpo ad una visione, comunicare un’identità, consentire al proprio pubblico di aggregarsi e vivere un’esperienza.

Il fine ultimo spesso tende a ragioni più profonde di quanto non sembri ad un primo sguardo: stimolare una ricaduta sul tessuto urbano tramite riqualificazioni e valorizzazioni architettoniche, apertura o ri-apertura di aree dismesse, rilancio di economie stantie e nei casi più riusciti, supportare progetti di alto valore etico.

ph : Cristina Galliena Bohman, edit : Valentina Cunja

Ne sono un esempio Light Blowing, progetto sviluppato grazie alla tenacia di Ilaria Ruggiero presentato durante la prima edizione di The Venice Glass Week che è coinciso con l’apertura di Murano Gallery LUab 4.0, spazio che ri-attualizza il ruolo della fornace andando in controtendenza sui tempi che vedono più chiusure che aperture di forni su un’isola che ha fatto dell’arte vetraria il suo core business a livello globale.

ph : Cristina Galliena Bohman, edit : Valentina Cunja

Approccio simile ma finalità diverse per Austrian Glass Core realizzato assieme a Advantage Austria, per Ironically Iconic sempre co-firmato assieme a Ilaria Ruggiero e presentato durante la MDW2017 negli straordinari spazi di Brera Site o anche per quello che ci piace definire come un “divertissement”, ovvero l’AtemporaryApartment andato in scena a DesignZone2017 a Portopiccolo.

ph : Cristina Galliena Bohman, edit : Valentina Cunja

We came to the world of the so-called design exhibitions in a natural and linear way, but backwards if compared to the classic curatorial figures. We got there by going through the technicalities of the press office and through the lens of marketing, mixing – or trying to balance – the needs of customers (connected to the market needs, selling area and revenue) with a personal attitude and taste more inclined to mixed forms of art / design, limited series productions, multidisciplinary and multicultural areas.

What was initially perceived as an “anomalous, sectorial, complicated” approach, seems to have become today a generally accepted method. Maybe because of a world constantly communicating where social media often replace classic journalism or a new way of approaching the product, more curious and aware. However, today the choice to rely on an exhibition project means to give body to a vision, to communicate an identity, to allow its audience to join and live an experience.

The ultimate goal often tends to deeper reasons than it seems at a first glance: to stimulate a relapse on the urban network through redevelopment and architectural enhancement, opening or re-opening brownfield sites, relaunching stale economies and in the most successful cases, supporting projects of high ethical value.

Based on these premises, the study has evolved by including – alongside the internal communication sector – the art and design management thanks to a network of professionals for each phase of the event, from the concept to the development of the project, passing by the study of the identity, coordinated image till the final communication.

The peculiarity of our projects consists in the ability to read and enhance the context in which we operate through proposals that draw from contemporary art and design to those hybrid creative forms that, through specific site installations with a strong emotional character, offer a unique and unforgettable experience.

Obviously, a project does not always start on this basis, but we try, if only for the right to choose where to invest our efforts. This was the case with Light Blowing, a project developed thanks to the tenacity of Ilaria Ruggiero and presented during the first edition of The Venice Glass Week coinciding with the opening of Murano Gallery LUab 4.0. It is a space that updates the role of the glass furnace going against the time when there number of furnaces that close is higher than the number of those that open on an island that has made glassmaking its core business on a global scale.

A similar approach but different goals were chosen for Austrian Glass Core organized together with Advantage Austria, for Ironically Iconic once again co-curated together with Ilaria Ruggiero and presented during the MDW2017 in the extraordinary spaces of Brera Site or also for what we like to define as a “divertissement”, the AtemporaryApartment staged at DesignZone2017 in Portopiccolo.