ammannn//gallery presents „from drawing to design II – masters of the 80s“, an exhibition featuring historical works showcasing studio alchimia and memphis‘ thematic stylistic idiom while highlighting the interaction between paintings and objects.
the exhibition features ten works on paper, including two tempera paintings, „looking koto ku buildings from sumida river“ by bruno gregori and „farfalle“ by carla ceccariglia from 1986 as well as fifteen iconic design pieces such as the „poltrona di proust“ (1979), hand-painted in the style of pointillism, and the „ondoso table“ from the bauhaus collection (1980) by alessandro mendini for alchimia.
the influential Italian collective studio alchimia and its protagonists are represented in the exhibition by alessandro guerriero, alessandro mendini, bruno gregori, carla ceccariglia, ettore sottsass, and giorgio gregori. studio alchimia was founded in the late 1970s to challenge established design norms and explore new possibilities for artistic expression, believing that design should not be confined to functionality alone but should incorporate elements of art, emotions and storytelling. integrating sketching and the medium of drawing and painting into their design practice, the artists of studio alchimia could impart a unique visual language to their design objects. they utilised colours, lines, and shapes to create dynamic and expressive designs beyond mere functionality. each design became a standalone artwork, blurring the boundaries between design and sculpture. based on the alchimia manifesto written by alessandro mendini in 1985, „drawing is a free and continuous expression of thought, made visual‘ and ‚the ‚beauty‘ of the object is in the love and magic with which it is suggested and in its soul „.
transitioning to the memphis group founded in 1980 by ettore sottsass, the exhibition showcases two pieces by the Italian architect and designer massimo iosa ghini and design works by japanese designer shiro kuramata. „città fluida“ (1991) by massimo iosa ghini, an impressive acrylic on canvas, depicts a futuristic cityscape bursting with colour and flowing shapes accompanied by his „satellite armchair“ designed for design gallery milano’s collection 1989 in a rich blue colour shaped in similar forms characterised in ghini’s fluid city painting highlighting the artist’s stylistic idiom. the early and numbered „kyoto side table“ (1985) by shiro kuramata for memphis is a white round table made from concrete and chrome-plated metal with infused specs of multicoloured glass.