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Natura Obliqua — giosampietro

The exhibition, hosted by Parco Gallery and curated by Emanuele Bonetti and Loredana Bontempi (Parco Studio), presents a preview of the collection highlighted by images – both stills and animations – that invite visitors into the process that led to the rings’ creation: glitches, shipwrecks, things gone wrong, residues, digital scraps, variations and surprises giosampietro encountered on his way.

The destiny of images is what brings Parco Gallery and giosampietro together, in communication artifacts and jewelry alike.

giosampietro’s vision emerges from new media and methods in a theoretical framework he calls hypercraft. The instrument he designed – his toolbox – is a combination of different elements: drawing, generative systems, game engines, the simulation of natural phenomena and the outcomes of visual FX software. He began generating images that hold unprecedented configuration potential and the images incorporate the material quality of the object, the ring and its variations.

The fact is digital processing does not cancel the craftsmanship element of these images, which become metal objects through lost-wax casting. The process is, so to speak, an extension of making by hand, of the language of jewelry design: the outcome is hand-coded, which is even more handmade.

It proves machines allow for surprises. giosampietro’s long process encompasses drawing, coding, re-drawing and re-coding an entire system of different tools, by practicing confident complicity with chance. He leverages the unexpected, the effects of particularly happy accidents and follows them – anywhere they may lead – to improve them.

giosampietro is Giorgio Olivero, one of Italy’s first interaction designers. Under his mother’s maiden name, Sampietro, he is starting a new research journey as an accidental jeweler.

Giorgio had been trained at the Interaction Design Institute Ivrea, and was co-founder and creative director of design studio TODO. At the end of 2015, he moved to Hong Kong to work on the research and development of wearable technologies. Before returning to Italy, he became Chief Design Officer at Arduino, since early 2022 he is guest curator for art and technology at OGR Torino.

Vacanza x Post Pandemic Design Studio

Brush folder: 2014-2019, an exhibition by Michele Galluzzo and Press Press

An exhibition dedicated to a particular path of the graphic brush from digital to analogue.

On Wednesday 5 February Michele Galluzzo presents his work as a resident graphic designer at Press Press: Brush folder: 2014 – 2019, a selection of sketches and notes related to the digital brushes designed using software such as Adobe Illustrator and Savage Interactive Procreate.

The limited-edition fanzine is printed in risograph, in RGB and is the first release of Campionario, an editorial project curated by Press Press that offers a guided residency inviting the designer to experiment with artisan techniques such as screen printing , chalcography, relief engraving and risograph, all devices are in their studio Spazio Florida. Proofs, graphic material and animations are exhibited as the object of the research and development of this editorial product. During the evening, Michele Galluzzo and Press Press will talk about their professional combination and how they came to physically put together Brush Folder.

Post Butt, an exhibition by Melani De Luca

Post-Butt analyses the virality of images in our mediated society. More rounded, it is a case study around the image of female bottoms and behinds, and their influence in media, society and art. The posterior is the protagonist of mass-mediated cullture, it is the democratic sex organ par excellence. The phenomenon of bootyfication exists in many contexts, as varied as the exploitation of the body in colonialism to 90s hiphop culture.

Post-Butt goes through different periods in time and place, to analyse the political meaning of the usage of the image of the female buttocks. Then, it discusses the role of the booty in varied cultural expressions such as film, Internet art, music videos, dance and plastic surgery.

Deep inside,Post-butt aims to reflect on how our society is conditioned by viral images, that do not only exist in the digital context, but have deep consequences on our physical world as well.

Two teams no cup

In 2018 the FIFA World Cup is held in Russia. 32 countries will compete for the title of best national football team in the world. An event that once again will captivate millions and millions of people worldwide. This year’s edition will be remembered as the one when Panama qualified for the first time in history. But, even more surprising, two countries with the richest heritages in football are not joining: Italy and the Netherlands.

For both countries this failure is pretty hard to digest. It means bars remain empty, orange and blue jerseys collecting dust in closets, main squares free of cheering crowds, no cars driving the streets with waving flags. And us, supporters, will be at home with too much time and too little to do.Two teams no cup is the solution. This booklet is a gym for your mind. It requires time and practice. Don’t run from your disappointment. Embrace it. Don’t let your grief get the best of you. Beat it. You can do it. Forza Azzurri! Hup Holland Hup!

About Lava

Lava is an international design studio based in Amsterdam and Beijing. We are a young team of enthusiastic creatives with a drive to create unique designs based on clear concepts. We offer concept development, strategy, branding and technology. We work hard, laugh a lot and always strive for the best. This results in visual identities, websites, motion, campaigns, apps and interactive installations with a strong recognisability.

Together we work for clients like the Moscow Design Museum, Enigma (Museum for Communication, Copenhagen), TV Broadcaster KRO-NCRV, City of Amsterdam, Klik Animation Festival, The National Museum of Worldcultures, The Nuclear Security Summit, and the Istanbul Biennial.Apart from that, we develop self-initiated projects like workshops, installations, exhibitions, meetups, festivals and hackatons.

Display x Post Pandemic Design Studio

Interfinity Mark by Radim Peško

An interview with Loredana Bontempi and Emanuele
Bonetti about establishing a gallery, exhibiting graphic
design, design education, future and electric sheep.

On gallery

Radim Peško: Could you please
introduce Belli Gallery?

Loredana Bontempi andEmanuele Bonetti: Belli is the first graphic design gallery in Milan, currently located in former music instrument than fast food shop. It is a curatorial project by ‘Parcodiyellowstone’ ( Milan-based graphic design studio that we founded in 2010. ‘Parcodiyellowstone’ operates in between traditional graphic design and new technologies, and works both on commissioned and self-initiated projects.

RP: Why name ‘Belli’?

LB&EB: ‘Belli’ means ‘beautiful’ in Italian and it originated from idea to simply show beautiful things. We also liked the idea of extremizing the surface of graphic design, as a provocative act to reflect on the role of content.

RP: What were your main
motivations to start a gallery?

LB&EB: To have a stronger connection with public, as well as to encourage direct relation with other designers here in Milan. It is still rare here to see graphic design exhibitions specially with a contemporary focus. Taking out illustration, photography and great masters that made graphic design history in Italy, there is not much left. At the same time Milan is associated with furniture and fashion design, so we like the idea of adding the graphic voice to it as well. In general, the link between graphic design and everyday life is very important for us and so is the connection of practise with politics, society’s behaviour and needs. We always dreamed of space where everybody could pop in and talk about graphic design and things around it. We want Belli to become the place for discussion about graphic design its meaning and role, avoiding cliché. We want to be happy and look at great stuff!

RP: How important is the context
of Milan (or Italy) for you?

LB&EB: The two sentences we use to describe our gallery are “Digging into international practices. Loving the local network”, so we want to bring the international experiences that are most relevant to us and share them with the local community.

RP: And how do you support it?

LB&EB: We are now using part of ‘Parcodiyellowstone’ income to cover Belli’s expenses. We hope one day Belli will be an independent and could stand on its own.

RP: How do you choose designers /
authors to exhibit in your gallery?

LB&EB: We invite designers that catch our attention, whose practice we consider important for understanding of the contemporary graphic design scene. Our audience is mainly graphic designers and students, but we wish to open it up to everyone curious.

RP: Could you describe your program?

LB&EB: The exhibitions (three to five per year) are the backbone of our program. For each exhibition we invite a guest (individual professional or studio, mostly from abroad) and together we discuss the exhibition in the frame of contemporary visual design. It could be either display of professional work or a project done specifically for the gallery. Equally important to the exhibitions are talks that our guests give at the opening and where they explain the process and thoughts behind the projects. Besides exhibitions we also organise flash events focused on subjects we care about. And in parallel with the gallery program we run a small bookshop opened  three days a week with a selection of international magazines and books.

On exhibiting design

RP: Exhibiting graphic design in gallery
context is quite debated subject as
designer’s practise and the work itself
is quite different to art for example.
What is your take on this?

LB&EB: Maybe in order to answer this question we would need to think about the role of graphic design, and that is not a simple task! Graphic design was born to communicate, being on the streets and in people’s hands. For us the long-standing examination of the boundary between graphic design and art is not set up, and we like to keep it that way.

RP: What are the main challenges for
exhibiting works of graphic designer?

LB&EB: Our first exhibition called ‘Cellophane’ consisted of the collection of visual references we have been collecting last 10 years: posters, postcards, flyers and other things we found in bars, streets, museums from Tokyo to San Francisco, in cities that we visited or lived in. We are saying this because for us graphic design is primarily something that is deeply rooted in everyday life, something that we are getting in touch constantly without even noticing. We don’t think that the work of graphic designer belongs to gallery spaces, but we think that gallery space could be good place that could allow us to stop and think about it. And for designers themselves, setting up the exhibition in the gallery space could bring the opportunity to express personal opinion or to work on topics that their own professional practise would not allow.

RP: What is the most problematic
or challenging part of making
such exhibitions?

LB&EB: We don’t see it as problematic, but definitely as a challenge, and dealing with designers outside their natural habitat of commissions is probably the biggest one. Graphic design is meant to live in ‘the real world’, so taking it to the gallery space often means for designer to build its own context in order to make it work. We think that such context (as well as the content of course, but that one is easier to get) is one of the most important parts of a project. The way we (together with the guest) decide how exhibit the work becomes an active part of the work. And understanding how graphics behave in the gallery context is an ongoing research itself.

On design education
and schools

RP: Given the accessibility of digital
tools (computers, software, applications,
print-on-demand, etc.) how important
you see design education and schools?

LB&EB: We had the chance to study in two places which are very different from each other and are coming from two very different traditions and approach: the Italian and the Dutch one. We would be completely different designers without those experiences. We have also been teaching in different  schools in Italy and believe that design education is fundamental. But think that design education shouldn’t be so much about tools and technology, but rather about process and methodologies. Tools and software are things you can learn by yourself, so the school should be a place where you share your experience and let your thoughts grow.

RP: Where would you go to study
in Italy now?

LB&EB: There are many good schools in Italy, but we would like to mention three of them: The Free University of Bolzano, ISIA of Urbino and Politecnico of Milan. The first one has a very international atmosphere, classes are in Italian, German and English, and it has more of a European approach being the design department together with the art one. Students up there also have amazing facilities and the school gives them lot of freedom to experiment with crazy stuff. ISIA Urbino is probably the best place to go if you want to learn about typography and editorial design, having some of the best Italian and International teachers. Politecnico of Milan is a school of great tradition where you can learn about design and its concepts in a wider sense.

RP: From your experience, what would
you suggest to somebody who just
started studying design?

LB&EB: Our suggestion would be not to spend five years in a single university. Having BA somewhere and MA somewhere else is a good way to get to know different approaches in order to develop your own.  Or at least it worked out for us.

On Future

RP: In what way does digital /
social media change the way
we see the word?

LB&EB: This is a very hard question and we don’t want to sound old and grumpy. On one hand we think that social networks are a good way to get to know what is happening on the other side of the world. On the other hand we think that we are mass-consuming news, images and inputs and it is becoming very hard to focus and go deep into subjects. Our generation grew up with the idea that thanks to internet you could get to know the world, maybe the truth and – who knows – change the world. For many, social networks often are the final stop of the journey, while we see them just as the trigger and the  beginning of the process.

RP: How did it affected the way
we look at graphic design?

LB&EB: We follow a lot of graphic design in our Instagram feeds. Seeing what people are doing in New York and in Seoul can be super inspiring, but as mentioned above, there is a lot more behind our gallery project. We are more interested in hearing stories and personal experiences from authors themselves. We love to know about content, their ideas and thoughts behind certain design decisions that will help us to fully understand their work.

RP: What might be the future
of typography in predominantly image
based culture?

LB&EB: In 2006 Oliver Reichenstein claimed that web design is 95% typography, and we still agree with that. It is probably also why there are so many brands right now investing in custom typefaces. Typography  is becoming a distinctive mark and we think that even people outside the design circles are becoming aware of its importance. On the other hand – going back to social networks – Facebook and Instagram are becoming increasingly more strict about typography and they strongly discourage you from using typography on promotional material that you want to publish (for example event’s covers, etc.). Even Spotify has introduced restrictions about the use of typography on album covers: both title and the artist’s name must be now set in bigger type sizes in order to get published on Spotify…

RP: If you would choose one word —
perhaps kind of keyword (anything that
makes you interested in design right
now / describes any particular interests
or general observations of yours related
to it) what would it be?

LB&EB: Future.

RP: Lastly, what is your interfinity question?

LB&EB: Do androids dream of electric sheep?

Radim Peško explain: “Interfinity allows opposites to coexist. An interfinity question is a question that has both an infinite number of answers and no answer at all. It could be said that an interfinity question is always more interesting than its response; and, conversely, that the response to an interfinity question is always more interesting that the question itself.”

Radim Peško

Radim Peško is a designer based in London. His work focuses on typography, type and editorial design as well as occasional exhibition or publishing projects. He is visiting lecturer at Royal College of Art in London and ÉCAL in Lausanne.

Eight Heads High, collectively designed typeface by HATO

Inspired by Italian artistic history from humanism up to the present days, Hato interprets the central role of Leonardo’s Vitruvian Man through nowadays language and tools.

People’s bodies will be the core device for creating the letters that will compose the final alphabet. Once ready, the latter will be shareable and usable on any kind of computer. HATO is a design studio based both in London and Hong Kong focused on the design impact on individuals and society. The project falls under the research that Hato defined as “Playtotype”, where everyone is invited to make his move and add to the collection of letter forms.

Cellophane, Parco Studio’s reference archive

Utopia after Utopia, Kajet at Parco Gallery

Kajet, Romanian-based journal, invites the public to reflect on the representation of their past through publishing. We invited them to Milan to reflect on our shared and unshared past, as a way to discuss the present using the visual output as a form of reflection. The blend of content and form is at the core of their research and practice. The heritage of eastern european visual tradition and the contemporary publishing practice meet in the exhibition set up.

As part of the ‘Utopia after Utopia’, the general public is invited to re-appropriate preserved imagery and representations of the socialist past, to interact with the public archive, to engage with the Eastern European heritage through old magazines & publications, and construct their own meanings concerning the position of utopian vision vis-a-vis Eastern Europe’s future.

Kajet Journal Born in Titan, a (former?) working class neighbourhood of Bucharest, KAJET Journal emanated out of an urgent need to provide a platform for Eastern European narratives. KAJET gets its name from the Easternised version of the French cahier, meaning notebook: a textual & visual collection of thoughts, an assemblage of neglected narratives, a self-expanding string of reflections & perspectives, a perpetual work in progress of a history that keeps re-writing itself; essentially, a journal of Eastern European encounters. The project hopes to become an alternative medium where artists & academics can actively co-exist & thrive. Through a textual and visual composite, try to overcome a purely anecdotal understanding of Eastern Europe, as aim to reverse the mentality, challenge stereotypes and shift perspectives.