Press release
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may 29, 2023 - Triennale
Unseen Collaborations Triennale Milano at the London Design Biennale
Triennale Milano is taking part to the fourth edition of the #londondesignbiennale The Global Game: Remapping Collaborations (June 1 – 25) representing the Italian Pavilion with the exhibition Unseen Collaborations, curated by #marcosammicheli, Director of Museo del Design Italiano at #triennale Milano, and #mariliapederbelli, Triennale’s Curatorial Assistant.
This year’s Biennale, under the artistic direction of Aric Chen, General Director of the Nieuwe Instituut in Rotterdam, has asked participants to explore the theme of collaboration and the search for shared synergies in design and beyond. Triennale’s proposal, which will be exhibited at Somerset House in London together with those of more than 40 institutions from all over the world, is based
on research conducted in the #triennale archives, highlighting the collaborative processes behind the designing of furnishings and interiors for Italian motor vessels and ocean liners in the first half of the 20th century. Conceived as authentic travelling exhibition pavilions, these projects played a crucial role not only in the inception of Italian design but also in presenting Italian design, artistic, and manufacturing culture to the world.
Stefano Boeri, President of #triennale Milano, says: “By participating in the #londondesignbiennale, #triennale is reaffirming its role as an institution with an international outlook and strengthening its extensive network of collaborations with partners from all over the world. Our cultural activities at the Palazzo dell’Arte have resulted in a series of exhibition proposals that have taken us to several destinations over the past few months, including Rotterdam, Genk in Belgium, Salvador and Rio de Janeiro in Brazil, and now London. #triennale is by this means confirming its desire to be an active part of an international cultural community.”
Marco Sammicheli, Director of the Museo del Design Italiano, says: “Collaborative processes are at the core of Italian design development, the structure and identity of which are defined by the relationship between the industry, craftsmanship, research centers and professional studios. In
emphasizing this important aspect, the exhibition we are presenting at the #londondesignbiennale broadens the horizon from Italy to distant and very different geographical areas, stimulating a reflection on the life cycle of objects and bridging continents through the theme of the reuse of resources and design projects.”
In the history of Italian design, large cruise ships stand as one of the earliest examples of multidisciplinary collaboration between technicians, engineers, builders, designers, artists, industrial sectors and craftsmen from across the country. On several occasions, such partnerships were at the centre of #triennale International Exhibitions, particularly between 1923 and 1951. Once decommissioned, motor vessels and transatlantic liners – typically Italian collective projects – are often dismantled on the shores of countries such as Bangladesh, Pakistan or India, where they are converted into materials – including raw elements – that are put back on the market, regaining value through new generative processes. A bridge is thus built between different areas of the globe through an invisible and unforeseen collaboration that links the beginning and end of an artefact’s life cycle. The exhibition aims to open up new perspectives on the need for unprecedented collaboration on a global scale that takes into account the human, political and environmental impact of complex projects.
The exhibition takes the form of the reconstruction of an insidious and disturbing environment of site-specific works and installations. On display are: Liu Xiaodong’s Steel 6 (2016), a work resulting from the Chinese artist’s research into the everyday life of steelworkers in the large ship-breaking yards set up on the coast of Bangladesh; Philippe Tabet’s Order (2017), a series of three masks
exploring three different industrial processes, namely aluminium casting, plywood gluing and ceramic glaze firing; two site-specific installations especially commissioned by the curators and created for this year’s #londondesignbiennale by Italian artist #davidetrabucco, who has traced a visual history of ship interior design, emphasizing the character of ships as mobile architectures
and collective projects, and #melaniatoma, who has created a large tapestry evoking the commissions that artists and designers received from ship-owners to decorate the communal and reception areas of cruise ships.
The exhibition at Somerset House is also accompanied by a display specially created by #davidetrabucco with an installation project by Ferruccio Laviani for the windows of Kartell's flagship store in London, on Brompton Road, in which the artist reworks his own research and the themes proposed for the #londondesignbiennale.
This exhibition is Triennale’s third participation at the #londondesignbiennale: in 2016, the first edition of the #event, it presented the exhibition White Flag, curated by Giorgio Camuffo and Silvana Annicchiarico, whereas 2018 saw Cesare Leonardi and Franca Stagi’s project L’architettura degli alberi, curated by Joseph Grima, Andrea Cavani, Giulio Orsini, Veronica Bastai and Archivio Architetto Cesare Leonardi.
Institutional partners Lavazza Group and Salone del Mobile.Milano provide their support to #triennale Milano for this exhibition. The realization of the project was also possible thanks to the support of the Italian Cultural Institute in London. We thank Kartell and Porro S.p.A.
1 Apollodorus of Damascus, Pantheon, Rome, Italy, 113–125 AND Marcello Mascherini, Stories of Jason and the Golden Fleece, Ceiling of the first-class veranda � SS Conte Biancamano, 1949
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2 Flying Buttresses of the Duomo di Milano AND SS Cristoforo Colombo, 1952-1983
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3 Gran Cono, Vesuvius AND Harry A. Trask, Sinking of the liner Andrea Doria, 26 July 1956
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Liu Xiaodong, Steel 6, 2016 , private collection – Courtesy M. Ars SA
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Melania Toma, Daughters of Pacha, 2021, Saatchi gallery
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Philippe Tabet, Order, 2017 Photo Zep Studio
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Philippe Tabet, Order, 2017 Photo Zep Studio 1
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Philippe Tabet, Order, 2017 Photo Zep Studio 2
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Philippe Tabet, Order, 2017 Photo Zep Studio 3
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