- Art Basel
- Business of Fashion
- Galleria Sozzani
- La Biennale di Venezia
- La Triennale
- Met Museum
- Museo del Novecento
- Museo Ferragamo
- Museo Macro
- NY Times – Fashion
- On The Runway
- Padiglione Arte Cont. (MI)
- Palazzo Grassi
- Palazzo Reale Milano
- The Wallpaper
- Triennale di Milano
- Un Nouveau Ideal
- Villa Noailles
- World of Gucci
On the occasion of the opening of the Arnhem Fashion Biennale Polimoda met Lidewij Edelkoort, renowned trend forecaster, who is the curator of the project. Arnhem is Holland’s fashion capital and home to the famous ArtEZ Institute of the Arts where Edelkoort studied and whose Fashion Department will celebrate its 60th anniversary in 2013. FETISHISM IN FASHION’s main exhibition takes shape at MoBA CENTRAAL through 13 thematic rooms that illustrate fascinating and expansive definitions of fetishism. The true scope and nature of fetishism will come to life through the display of garments, accessories, photography and film. The 13 themes are: Nudism, Sado-Masochism, Infantilism, Nipponism, Spiritualism, Absurdism, Romanticism, Legendism, Regionalism, Patriotism, Nomadism, Shamanism. During the interview Edelkoort explains the origin of the theme Fetishism in Fashion: “We are all born in bondage, a cord wrapped around our baby body” She revealed what is her own fetishisist thought and her idea about talent. “Talent is someone/something which is able to change my view, my vision, putting me into question. It has to add something and to transport me into another dimension”.
The Giorgio Cini Foundation opened the celebration of Marc Quinn, curated by Germano Celant, the solo show includes sculptures, paintings and other art objects by one of the original Young British Artists. Consisting of more than 50 works, including the public debut of at least 15 new works, Marc Quinn will be one of the artist’s most important exhibitions to date.
In addition to reuniting Quinn and Celant, who last worked together on the exhibition Garden at the Prada Foundation, (Milan, 2000) Marc Quinn marks a return of the artist to Venice, following his 2003 show at the Peggy Guggenheim Collection, The Overwhelming World of Desire, and highlights the Giorgio Cini Foundation’s growing interest in contemporary art.
On view is a new form of the artist’s monumental work, Alison Lapper Pregnant installed in September 2005 on the fourth plinth of London’s Trafalgar Square (2005-7). Breath (2012) is a 1,100 cm inflatable version of the original, placed adjacent to the Church of San Giorgio Maggiore to welcome visitors to the Foundation. Breath was the centre piece of London’s Paralympic Games’ opening ceremony. The work seems to describe the journey of an image when it becomes part of cultural discourse something without boundaries of scale held up by the breath of those talking about it.
8 JUNE – 21 JULY 2013
Curator Lidewij Edelkoort has selected the theme of Fetishism in Fashion for the fifth edition of the M°BA (Fashion Biennale Arnhem). It will feature a series of exhibitions and events which explores and charts the passionate relationship the public has with fashion and accessories. The many wrist bands, the different types of bra strap and the laces which tighten corsets. We are literally connected to and enthralled by fashion which uses human fetishism in its design. A new world of helmets, armor and corsets; of caps, aprons and nappies; of tabards and tippets; of masks veils and wigs; and clogs, hooves and stilts. The changing idiom of tomorrow’s fashion.
In M°BA 13 – Fetishism in Fashion Lidewij Edelkoort, in collaboration with co-curator Philip Fimmano and with the assistance of Willem Schenk, will lead us through the extraordinary and – currently – unexplored territory of fashion and fetishism.
Lidewij Edelkoort on Fetishism in Fashion: “As a devotee of clothing and textiles in particular; I decided to analyze and dissect our obsession with fashion by dedicating a theme to the phenomenon of fetishism. An analysis of our desire to know and express ourselves; from covering and veiling to the most eccentric extremes which the desire for beauty can lead to. I wanted to look for the strong links which exist between an item of clothing and the wearer; the passion which can be caused by a pair of shoes or the emotional experience which the tactility of a textile can give us.”
Fetishism as a starting point for the biennale deals with more than just the sexual connotation certain items of clothing and accessories can have. It is also about the emotional and, sometimes even, obsessive relationship we have with the way we come across. We communicate with each other both intentionally and unintentionally thanks to our appearance. We have our favorite items of clothing, favorite colors and the accessories we collect. We dress ourselves and are led by intuitive and seemingly irrational processes.
M°BA 13 – Fetishism in Fashion will use exhibitions, films and images, dance and theater, and workshops to summon a world which appeals to our darkest and most primitive instincts.
MºBA 13 – Fetishism in Fashion
9 June | 21 July 2013, Arnhem
For the first time in his career, Jordanian artist Mustafa Sabbagh will be visiting Milan at the Format Gallery exhibiting his works of medium and large format, some unpublished, and specially produced for this occasion. Mustafa, through a clever use of portraits and landscapes depicts a harmony of relationships. His images tell the story of individuals but also of couples. He blends a harmonious knowledge of the other partner as they are portrayed living together, separated, absent or neglected.
The images of Mustafa Sabbagh, mainly autobiographical, share an intimate perspective on relationships with their audience. The artist has developed an aesthetic of emotions in their sublime depiction: troubled, anxious and fascinating at the same time. The dresses and costumes are like a second skin which dramatize his images containing and corrupting the senses. In his world, objects are an integral part of the language that is the vessel of relationship with others.
His art is never limited to a game of meanings but instead shows the abyss – staring into the melting pot on the horizon. In observing the images of landscape, nightlife, beaches, forests, skies and mists, and also of his nudes, we are dealing with pure expressions of void. Mustafa Sabbagh’s focus on unconscious emotions continues to create an abstract view of the physical and mental health of objects to reflect the inner soul of his images.
Il fascino del passato e la moda oggi
“Il “vecchio”, reale o apparente, salverà questo mondo troppo assetato di nuovo.” (James Hillmann)
Ormai è un dato certo che la memoria crea stile. Il cosiddetto “effetto nostalgia” ha contaminato ogni aspetto della contemporaneità ed è sufficiente digitare la parola magica “vintage” su qualsiasi motore di ricerca che i risultati sono talmente numerosi , tra blog, siti e forum, da rischiare di farci perdere la strada nei meandri della rete.
Questo termine, accolto nel gergo comune della moda negli anni ’90 per sostituire le più datate e conosciute definizioni di “usato” e “seconda mano”, introducendovi il concetto di rarità o comunque di selezione tra gli indumenti retrò, oggi è un fenomeno che esce dalla sua dimensione di nicchia, che agli esordi individuava un segmento specifico di mercato, per abbracciare significati semantici e di prodotto molto più ampi e complessi.
Infatti una delle tendenze di costume sociale ed economico più oggetto di studio del terzo millennio è proprio il vintage marketing, che oggi esamina con estremo interesse la spinta verso questa tensione critica sempre più invasiva tra passato e presente, sfociata in una sorta di melting pot globale postmoderno saturo di forme comunicative eterogenee, oscillanti tra innovazione e continui sguardi al passato. Mode e tendenze provenienti da ogni decennio del secolo scorso e anche da epoche precedenti, vengono incessantemente analizzate, scannerizzate, fagocitate e riproposte in ovvi oppure in inediti déjà-vu, che hanno contagiato molte aree del contemporaneo. Moda, architettura, design, cinema, musica, televisione, gastronomia, tecnologia, obbediscono alla nuova formula matematico-simbolica “uno più uno uguale tre” vale a dire: “prendere il meglio dal passato per fonderlo col meglio del presente ed avere come risultato qualcosa di superiore.” 
In quest’ottica il fenomeno del “vintage” vero e proprio e dello “stile vintage” da esso derivato, attraverso la tecnica del “copy and paste” e del rapporto emozionale con il tempo, diventano pura espressione dell’estetica postmoderna.
Vari spunti di riflessione sono stati offerti da due importanti eventi culturali che si sono svolti tra il 2011 e il 2012: le rassegne “Postmodernism. Style and Subversion, 1970-1990” tenutasi al Victoria and Albert Museum di Londra e “Schiaparelli & Prada. Impossible Conversations” da poco conclusa al Metropolitan di New York.  Senza volerlo le due mostre sono collegate fra loro da un fil rouge semantico e culturale, nell’esplicitare il trionfo del gusto citazionista/revisionista e nel sottolineare che il tempo e la storia procedono sempre di più secondo uno sviluppo circolare e non sequenziale, con continue deviazioni di percorso e di scarti cronologici, che ci proiettano all’interno di una trama spazio/tempo “reticolare”, immagine stessa della complessità contemporanea. 
Il postmodernismo nell’esibizione londinese viene presentato come un movimento di reazione e di opposizione all’ortodossia del razionalismo modernista fondato sul perpetuo rinnovarsi dei linguaggi, assumendo una presa di posizione epocale contro il purismo del “moderno”, percepito come totalitario ed univoco. La produzione artistica postmoderna vi appare più come ‘campo’ consapevolmente aperto a interferenze culturali che come uno stile preciso, fenomeno spiazzante basato sulla molteplicità stilistica, che riscopre la valenza liberatoria di pratiche precedentemente condannate quali l’eclettismo e il revival, sia nella sua fase più “storica” (dagli anni 70 agli ’80) che nel sua fase di dilatazione temporale che giunge fino all’oggi.
Leggi tutto il testo Vintage Ergo Sum [.pdf].
 C. Meo, Vintage Marketing. Effetto nostalgia e passato remoto come nuove tecniche commerciali, Milano, Il Sole 24 Ore 2010; cfr. S. Brown, Post Modern Marketing, New York, Routledge 1995
 C. Meo, Vintage Marketing, cit. pag. 23
 G. Adamson, J. Pavitt, Postmodernism. Style and Subversion, 1970-1990, London, V&A Publishing 2011; A. Bolton, H. Koda, Schiaparelli & Prada. Impossible Conversations, New York, Yale University Press 2012
 A. Giannone, P. Calefato, Manuale di comunicazione, sociologia e cultura della moda, Volume V. Performance, Roma, Meltemi 2007, pag. 114
 G. Fabris, “Modernita addio? La genesi del nuovo consumatore”, in Il Nuovo consumatore: verso il postmoderno, Milano, Franco Angeli 2003, pag.13
DI FRAGILITA’ E POTENZA
by Federico Gori
A project curated by the Centre for Contemporary Culture Strozzina
Palazzo Strozzi Courtyard
30 April–30 June 2013
For the 2013 Florence event ‘La Notte Bianca’, the Fondazione Palazzo Strozzi has been presented with a new work by Italian artist Federico Gori, Di fragilità e potenza (of fragility and power).
A striking installation that finds its center in a large suspended tree, a cork oak over seven metres tall, which rises in the courtyard silhouetted against the gray stone of the Renaissance colonnade. Around it, the artist has created a sculptural composition consisting of copper sheets, with their surfaces capturing the impressions of leaves, branches and bark.
Federico Gori creates a minimal yet highly symbolic landscape that prompts us to reflect on the relationship between man and nature. His work of art is a poetic meditation on two sides: strength and power, pitted against delicacy and fragility. The artist creates a new configuration of Palazzo Strozzi’s space, achieving a radical and poetic transformation of the visitor’s perception of this area.
The installation will be on view until 30 June 2013.
Open daily 9.00am–8.00pm, Thursdays until 11.00pm. Free entrance.
During the event Fuori Salone 2013, the media library of Santa Teresa in Milan hosted the most interesting lab of Milan Design Week, presented by VisionLab – Triennale Milano, curated by Alberto Pizzati Caiani.
The theme was “the ability to see what is not visible, but is there …”.
VISIONICA aims to “uncover different places and visionary senses in otherwise unexplored scenarios” involving the public in new sensory experiences, experimenting participation and reactions to image, sound and technology proposed by artists and scientists who work with their facilities, ensuring high levels of engagement and interaction.
One of the most interesting projects for the contest was definitely Brainwave – a Torrevado project by Roberto Dal Bosco. The Meditative Video Device (DVM) is an innovative installation designed to conduct people into a state of total relaxation and contemplation. The DVM reveals the state of mind of the viewer, training them to control it in order to achieve peace and relaxation. The DVM is based on non-invasive technology and is immediate, acting as a simple “game” where the joystick function is replaced by brain waves.
TAR magazine has been reborn, and the most interesting part of this issue starts from the cover. Previously unpublished images come from the archives of the Eames Foundation and have been chosen from a series of 233 shots presented in Re-Think, the Eames exhibition held on the fringe of the 2013 Furniture salon in Milan.
The layout of the exhibition has been designed by students of Geneva’s University of Art and Design under the direction of Nitzan Cohen and Dominic Robson. Even though Charles Eames used these images in his design conferences, we find nothing in them that actually illustrates his work. However, up closer and with a little imagination, one can see that everything touches upon it. It is therefore, no coincidence that these photographs, which were taken during Wilder’s filming – show the backstage of what would be black-and-white movies – here and there revealing the papier-mâché sets of Hollywood, the technicians at work, the eyes of Audrey Hepburn, the extras beneath the rain, the cameras, Humphrey Bogart… and also Eames’ unique point of view and position.
Two interestingly distant worlds trying to communicate with the Krizia exhibition space during Design Week 2013. On the one hand the work of Ingo Maurer, with its magical light creations that combine LED and synthetic materials. His new designs: Candle in the Wind, presented as an LED chandelier and table lamp; Zak Zarak, an articulate LED table lamp composed of magnets, plastic and aluminum; Biotope, a one-off installation where nature meets illumination and acoustics, and a new exploration of the OLED technology.
On the other hand, the exhibition is dedicated to the preservation of the architectural heritage left by the great Russian avant-garde architect Konstantin Melnikov, in order to generate interest in his work, not only among young architects and designers, but also for the wider creative community . The exhibition presents the buildings built by Melnikov in Moscow in the years 1924-1936, among which there is also his home. The exhibition presents contemporary photographs of the buildings, but also original Melninkov sketches and drawings. Part of the exhibition is dedicated to the works of the participants in the architectural competition “Avangard”, a project for a new type of stop station of urban transport in Moscow, scheduled for introduction in the near future on the major arteries of the city.