Bas Princen,

Rome, Milan,

Biennale di Venezia,


Porcelain Tile, Stone,

Ariostea, FMG Fabbrica Marmi e Graniti, Venice Biennale, Andrea Branzi,

Coming out of the Biennale in Venice, one is likely to overhear a lot of talk about Urs Fischer: the artist who staged the melting of a wax reproduction of Giambologna’s “Rape of the Sabine Women”.


The great anthropologist Roland Barthes calls the twentieth century the century of destruction and reconstruction.
Now that we are armed with new ways of destroying the past and building the present, with weapons to destroy cities and technologies to rebuild them, all human works are imbued with a sense of fragility, as if they were no longer in a secure state, but in constant flux, an intangible and uncontrollable condition left up to the imagination. According to Urs Fischer, art is in transition from the perfection of classicism to a new aesthetic that denies it. At the Biennale in Venice the Swiss artist melted a wax reconstruction of Giambologna's statue “Rape of the Sabine Women”.
Just like art, architecture is first constructed, then deconstructed and reconstructed, creating urban historical stratifications and the decadent charm of the suburbs as they appear in the pictures of architecture photographers, from Gabriele Basilico to Bas Princen. The deconstruction characterising them allows us to imagine possible worlds which no longer exist or do not yet exist, like Anselm Kiefer's imaginary architectures, rising to the sky out of their own ashes.
FMG Fabbrica Marmi e Graniti interprets these poetics by taking stone apart and putting it back together, creating surfaces for interiors to contain art, and floor and wall coverings for museums and less conventional exhibition places.  
An idea is emerging in design that the traditional aesthetic no longer represents the contemporary world. In his “Still lifes”, Andrea Branzi reveals the fascination of the action of time on all material things. There is great beauty in that which fades, declare Wendy Bevan's photographs, revealing the fragility of the world of fashion, setting up a circus of actors and models.
Deconstruction becomes an exercise in looking within in the works of Gerhard Demetz, where hyperrealism gives way and even wood seems to give off pixels. In Ariostea's images it is ceramics that are broken up, revealing the details of a naked, complex, versatile material made up of a multitude of suggestive natural hues, producing compact tiles with uniform surfaces.

01. Urs Fischer, “The Rape of the Sabine Women”, wax replica of Giambologna's statue, 54th International Biennale of Art, Venice, 2011

02. Andrea Branzi, “Still lifes”, Galleria Clio Calvi & Rudi Volpi, 2011

03. Wendy Bevan “The Cut of the Light” photo exhibition, Camera16, Milan

04. Ariostea Porcelain Stoneware for Floors and Walls
High-tech marbles, imitation marble porcelain stoneware floor and wall tiles, uniform through their entire thickness.
High-Tech Woods, Imitation Wood Porcelain Stoneware Floors, Imitation Parquet Tiles.
High-tech stones, Resistant high-tech imitation stone porcelain stoneware floors for interiors and exteriors

05. Bas Princen, photographic exhibition at la Casa dell’Architettura, Rome, 2011

06. FMG Fabbrica Marmi e Graniti, Porcelain stoneware and high-tech ceramic floors and walls for interiors and exteriors

07. Boffo Building Fashon 2011, boutique installation designed by Patrik Ervell and Graham Hudson, New York, ph. Evan Joseph

08. Anselm Kiefer, “The Seven Celestial Palaces”, Hangar Bicocca, Milan, 2005

09. Clärchens Ballhaus, Berlin, dance hall and restaurant designed in the ruin style

10. Gehard Demetz, various works, courtesy Galleria Rubin, Milano

Mara Corradi

Il nostro sito web utilizza i cookie per assicurarti la migliore esperienza di navigazione.
Se desideri maggiori informazioni sui cookie e su come controllarne l’abilitazione con le impostazioni del browser accedi alla nostra
Cookie Policy


Stay in touch with the protagonists of architecture, Subscribe to the Floornature Newsletter