English Version

THE HUMAN CAPITAL

Alberto Cavalli

In 2016, when Johann Rupert and Franco Cologni founded the Michelangelo Foundation for Creativity and Craftsmanship, they had a precise aim in mind: to support the finest craftspeople in Europe, often somewhat invisible and only rarely taken into consideration, in facing the challenges of the contemporary world. In so doing, they set themselves the goal of helping them become the new protagonists of a more human way of working, producing and selling: in a word, of living. The first edition of “Homo Faber”, in 2018, was the springboard for a new international cultural movement, which Franco Cologni has sought to promote through his Italian foundation since 1995: a movement that places human talent, in all its expressions, at the heart of endeavours for a more sustainable future. Where “sustainable” does not only mean respect for the environment, but also for everything that makes life extraordinary: dreams, creativity and beauty. The second edition of “Homo Faber”, scheduled to take place from 10 April to 1 May 2022 at the Fondazione Giorgio Cini in Venice, raises this dialogue to an even more evocative and prestigious level: Japan, the guest of honour at the event, shows us that the most skilled master craftspeople are true “living treasures”. A presence that is priceless for culture, memory and the identity of people and places: a human capital of talent and vision, which should be considered and celebrated as an anthropological cultural asset (in the words of our own Ministry of Culture). This issue of Mestieri d’Arte & Design. Crafts Culture is thus dedicated to the extraordinary adventure of “Homo Faber”. The following pages will reveal a preview, through the competent point of view of our passionate authors, of the fifteen exhibitions that will make up the new edition of this unique event, curated by a team of experts that includes legendary names such as Bob Wilson, Naoto Fukasawa, Judith Clark, David Caméo, Stefano Boeri, Michele De Lucchi, Jean Blanchaert and Sebastian Herkner. This concept of curatorship and care is one of the secrets of this event, which this year will be extended to embrace the whole city of Venice though the “Homo Faber in Città” programme: because doing things with care, making choices, noticing differences and showcasing them, are fundamental to increase the perception, and therefore the value, of beauty. But this edition is also dedicated to the “Homines Fabri”: all those who, with abnegation and talent, passion and skill, set out each day to celebrate the ritual of beautiful and well-made objects. People who pursue a handmade dream, imagining a future in which human hands always interpret our desires better than any machine. And translate them into meaningful objects that leave a mark. These men and women are the makers of their own destiny, thanks to the competence, love and authenticity of their vocation, which enables them to succeed in the most exacting challenges. The essence of their work is distilled in the pages of this magazine. It is the best possible commentary to the wonders Venice offers the watchful visitor: what might at first glance seem fragile can actually turn into something strong, longlasting and resilient when we take care of it. Enjoy your reading and have a good trip to the island of San Giorgio!

STAND OUT AND BE KNOWN

Ugo La Pietra

People need to exchange views in order to grow and improve! This is the approach that should be constantly applied within the various artistic disciplines. Among artists, the artisan-artist is the one who, more than other creative professionals, experiences the most “isolation”. This condition leads him to explore unfamiliar territories but also forces him to have rare opportunities for verification and comparison. For many years (until the 1950s), outstanding artistic craftsmanship was regularly presented in magazines such as Domus or through exhibitions such as the Monza Biennale or the Milan Triennale. After that, many years of silence followed. It was only in the 1980s, when applied arts and the maker culture began to surface, that various initiatives were launched to unearth the different expression of crafts throughout Italy and to compare them with one another. The first experimental exhibitions at “Abitare il Tempo” in Verona and “Abitare con Arte” in Milan were followed by attempts to actually harness the formula used for the Biennials of the applied arts, resulting in exhibitions of “excellence”. Like, for example, the “Masterpieces” exhibition staged in Turin by Enzo Biffi Gentili, or the biennial editions of “Artigianato Artistico” that I organised in Todi and Boario Terme between the late 1990s and the turn of the new millennium. Comparing notes can therefore become the most useful tool for growing our own production within the more valued international market of this particular sector. Which, outside of Italy, is supported by museums, institutions, schools, galleries, the market… A complex of structures that could also sustain the work of our artistic craftsmanship. As far as nurturing forms of comparison and enhancement goes, our legacy of craftsmanship has already seen virtuous examples. Indeed, they are positively illuminating: more than the above-mentioned exhibitions and attempts at Biennials, I am thinking most of all about what was achieved in the 1950s for the handcrafted furniture of Brianza with the “Permanente” exhibition of Cantù. This institution was promoted by architects of the calibre of De Carli, Zanuso and Parisi, and for decades it provided the furniture in Cantù with an international seal of quality. Rediscovering the applied arts, coming together for a stimulating confrontation, up to the more ambitious project of creating a “permanent” exhibition, has been and continues to be a necessity for fostering the great heritage of Italian and international artistic craftsmanship. Every discipline, from architecture to art, cinema and comics, have long been cultivating national and international projects to showcase “the best of” what is being done within their specific discipline. The world of design has yet to grasp how to deal with this comparison-based approach. Functional and consumption objects do not yet seem to have achieved the level of “value” and “meaning” that other arts have. But artistic craftsmanship deserves this kind of initiative, if only to acknowledge the creative effort, the passion and the desire to experiment… all values that characterise this particular field. In recent years, thanks to the commitment and participation of experts, scholars and theorists of the applied arts, the Fondazione Cologni has contributed to the development of various tools (exhibitions, awards, publications) capable of presenting but above all comparing a wide range of creative experiences. The world of artistic craftsmanship looks with keen interest and participation to the growth of these initiatives, which go far beyond the mere (albeit useful) raising of awareness. “Homo Faber” is becoming a centre of knowledge, experimentation and international exchange, and one that stands out amongst the many initiatives that have taken place in recent decades. We need to stand out to bring our artistic craftsmanship into the vast international arena of the crafts, thereby recovering the extraordinary creative heritage that has always distinguished our country.

THE MEANING OF MAKING

Stefano Micelli

Every crisis provides an opportunity to reflect on society and on the assumptions of living together. In the aftermath of the events of 2008, which

marked the beginning of the financial crisis, we questioned ourselves about work and wealth. Analysis of the dynamics of the real estate sector showed that a large segment of the population, especially in the United States, had begun to think that finance – not labour – could be the source of household wealth. Among the main reasons for the success of Richard Sennett’s book, The Craftsman, was the determination with which the American sociologist looked at craftsmanship as a true antidote to a completely financialised society. Richard Sennett was the first to pose a general issue: craftsmanship is characterised not only by its contribution to the economy of certain sectors – for example, that of high-quality products – but above all by its ability to stimulate features of each individual that allow communities to rediscover lasting bonds and a sense of common purpose. The crisis triggered by Covid-19 has also set in motion a significant reflection on the role and value of work in advanced societies. The argument has developed on several fronts. A first consideration concerns the issue of remuneration. Over the past two years, we have come to realise that many jobs are not paid enough in spite of their actual contribution to society. These considerations apply, for example, to the nursing professions, which were valuable during the pandemic, but underpaid compared to other jobs. A second consideration concerns the deeper meaning of work. The pandemic crisis has forced a large portion of the population to work from home. Many have taken advantage of smart working to reflect on their working conditions and on the meaning that should be attributed to their daily commitment. This moment of collective rethinking has led to unexpected consequences, especially among those employed in the so-called gig economy. Many have resigned from their jobs, waiting to find something more interesting and meaningful. Riders working for home food delivery platforms, employees of large distribution chains, operators of the logistics chain of e-commerce are some of the profiles that have resigned convinced of the possibility of finding better employment. The phenomenon known as the “Great Resignation” speaks of a world that rejects the logic of standardised work regulated by procedures and algorithms. Many people are asking to express their personalities at work; they demand a margin of autonomy in order to make informed choices; they claim a space for authentic social interaction with respect to the recipients of their commitment. Ten years ago, the crisis juxtaposed an economy based on work and an economy centred on finance. In the wake of the pandemic, the contrast is rather between “bad” jobs and “good” jobs, according to the definition by two famous economists, Dani Rodrik and Charles Sabel. Craftsmanship represents a form of good work, from every angle. The increasingly visible and conscious demand for “good jobs” is a warning to business and politics to find ways to initiate a general shift in direction. Training, tax breaks, the offer of working space at low cost, support for entrepreneurship are some of the levers that managers and public administrators can use to encourage a transition towards a new idea of work and living in common. This is a collective demand that can no longer be avoided.

ALBUM

Stefania Montani

Adriano Berengo Fondamenta dei Vetrai 109/a, Murano, Venice T +39 041739453 Fondazione Berengo, San Marco 2847, Venice T +39 041739453

After graduating from Cà Foscari University of Venice, Adriano Berengo earned a PhD in Comparative Literature in New York. “But my passion for glass and my hometown were in my DNA: in a short time, I decided to leave America and return to Murano,” he confesses. Since 1982, the year in which he decided to go into glassmaking, he has never stopped growing his business. “I looked to Peggy Guggenheim and Egidio Costantini for inspiration. In the 1960s, they invited artists such as Picasso and Chagall to create works in glass. I followed their example, and in 1986 I started promoting the world of contemporary glass art. I brought Murano’s greatest glassmakers together with some important international artists I had involved with the aim of creating great works of art. These collaborations have also led to the development of new and really interesting techniques,” notes Berengo with satisfaction. In the furnace, equipped with three large kilns, a group of master glassmakers gives shape to the most extraordinary works: they have inherited a tradition spanning a thousand years, of which Venice is the undisputed Grande Dame. “Many artists have worked side by side with our master glassmakers and exhibited their objects in our furnace. They include Tony Cragg, Jaume Plensa, the Chapman brothers and César,” Berengo explains. Some of the pieces are monumental, such as the Blossom Chandelier created by Ai Weiwei, in which blown-glass branches, flowers and little birds are all interwoven. Today, Adriano Berengo has a furnace where master glassmakers create glass works in collaboration with artists, and a Foundation set up in 2009. The latter is housed in Palazzo Cavalli Franchetti, not far from the Ponte dell’Accademia bridge, where artists and designers can display their creations. “The number of copies of each piece is decided with the artists. We usually make eight: one for the artist, one for me and the others for the art market.” Berengo has staged exhibitions all over the world. “I think I’m the only person who has 1,000 pieces of contemporary art ready for delivery in 24 hours,” he says proudly. berengo.com fondazioneberengo.org

Ana Berger c/o Unisve, Dorsoduro 3077, Venice T +41 796602325

Ana Berger is a textile researcher and artist specialised in ancient and contemporary Japanese textiles and kimonos. She is a passionate collector of fine artifacts that she exhibits in museums and galleries, curating and publishing her own catalogues. She is currently preparing a book on Japanese textile arts, with studies of ancient traditions as her starting point. Her aim is to illustrate the continuity of this ancestral savoir-faire up to the present day, thereby providing testimony of how up-to-date it still is. Ana Berger’s work and interests are many and varied: in addition to studying artisan processes in the various periods and collecting fabrics, she is also involved in fashion and set design, collaborating in the staging of plays and films. But her greatest passion are Japanese textiles. “In order to get a glimpse of the secrets of this ancient tradition,” the scholar and collector explains, “I needed to gain a better understanding of it by actually learning the techniques used for dyeing and weaving the fibres. My teachers were master Japanese weavers, known as Living Treasures. They are artisans who have been handing down the techniques and secrets of their craft for generations. To pay tribute to their art, I decided to organise an exhibition entitled ’Japan’s Textiles–Fibers, Threads, Gestures & Beauty’.” Through her passion and knowledge of ancient and contemporary Japanese textiles and clothing, Ana Berger will introduce visitors to the extraordinary world of twelve masters of weaving, dyeing and other skills required to create these magnificent artworks. It is a journey designed to unveil the incredible diversity of fibres and yarns used to make these textiles, as Japan is one of the world’s richest countries from this standpoint. From Hokkaido to the Ryukyu islands, from Honshu to other isles, countless materials will be on show, often alongside explanations about the various methods used to make the patterns. The exhibition will be complemented by a rich selection of photographs and videos. anabee.rouge@yahoo.fr

Fallani Venezia Cannaregio 50001/A, Venice T +39 3355851689

In the heart of Venice stands a workshop that prints high-quality editions interpreting the various expressive forms used by painters, sculptors, photographers, illustrators, graphic designers and street artists. This outstanding all-Italian business was established in 1968 by Fiorenzo Fallani, who also taught at the Venice Academy of Fine Arts. Right from the outset, he started using printing techniques that had just been imported from America, and were innovative at the time. It was an immediate success. In 1970, Fiorenzo was invited to the 25th Venice Biennale to work in the silk-screen printing workshop, where he met artists from all over the world. One of these was William Weege, an American artist who stayed in Venice for over a year to work in Fallani’s atelier, forging a great friendship in the process. The artistic work has always run alongside the business itself: first came zincography followed by photolithography and then, with the arrival of Fiorenzo’s children, came digital technologies. Today, Fiorenzo’s son Gianpaolo, who grew up in the workshop, continues to carry on the business and upholds the Fallani name. He explains: “Ours is an artisan workshop that prints high-quality editions. We interpret the artist’s works to best effect whilst translating them into graphic form: to do so we put at their disposal our technical expertise and our sensitivity, which are the very essence of craftsmanship. Each work has its own story full of anecdotes and emotions. Like the publication of the pictorial work by Dario Fo, with whom I had the pleasure of working just a few months before he passed away. Or the collaboration with Giampiero Bodino for the 2018 edition of Doppia Firma at the Salone del Mobile in Milan. Over the course of 50 years, about 250 artists from all over the world have come to us. It’s given us an amazing opportunity to exchange knowledge and to grow even more.” Fallani’s screen printing company has turned out precious publications and created more than a thousand works. Gianpaolo Fallani was awarded the title of MAM-Maestro d’Arte e Mestieri (Master of Arts and Crafts) by the Fondazione Cologni dei Mestieri d’Arte. Today, his children Francesca and Alberto work with him in the workshop. They share the passion of their father and grandfather, and are ready to continue the family tradition. fallanivenezia.com

Caterina Tognon Art Gallery Cà Nova di Palazzo Treves in Corte Barozzi San Marco 2158, Venice T +39 3488561818 – +39 0415201566

Caterina Tognon owns one of the most important glass galleries in Europe. She has an all-consuming passion for glass, and collaborates with international artists and designers of the highest level. “I have always been in love with artistic glass blowing in Murano,” confesses the dynamic lady. “In the 1980s, I worked as artistic and production director in a furnace. Then I realised this outstanding craft could only have a future if it was linked to the visual arts, and not just to design and the applied arts. But it was necessary to find a way to support the costs.” So, Caterina Tognon began to contact artists not only in Murano but all over the world, and decided to create a space to give visibility to their works. She also chose to include some creations produced at the beginning of the 20th century within the artistic movements dedicated to the crafting of artisanal glass. She opened her first gallery in Bergamo in 1991. This was followed by the decision to move to Venice, in 2004. “In all these years, the venture has become bigger and more complex, even though the artists have remained the same since the beginning of my activity: Italian, Dutch, Canadian and Bohemian. It has been very nice to see them grow.” In addition to curating her gallery, Caterina Tognon is also the founder and coordinator of Cotisse (a non-profit cultural association), a project set up in 2011 to support master glassmakers in their research and experimentation, at the same time making the value of the human, artistic and technological heritage represented by the ancient Murano glassmaking technique known throughout the world. “I named the association after the cotisso, which in our jargon refers to a shapeless, shiny, coloured and irregular block of glass. They’re rough casts and are usually stacked up at the entrance of every furnace, waiting to be added to the sand for fusion. In Murano, you immediately see the cotisso when you walk into a furnace, just waiting for the master glassmaker to transform it.” caterinatognon.com

Cesare Toffolo Fondamenta dei Vetrai 37, Murano, Venice T +39 041736460

Born into a family of traditional artistic glassmakers (both his grandfather Giacomo and father Florino were master glass blowers at the Venini furnace), Cesare Toffolo is an extraordinary master. Having learned the basics from his father, he went on to hone his skills and invent new techniques. His reputation as the “world’s greatest glass-blower” soon spread beyond Italy, so much so that he was invited to teach in the United States and Japan, where he trained many other artists and glass professionals. His headquarters are in Murano, in a historic 14th-century building. His shop, with its elegant mullioned window, leads into the gallery where his works are displayed. His creativity knows no bounds, ranging from glass inspired by the Venetian tradition of the 18th and 16th centuries to the more modern forms developed during his time in the United States. Extraordinary, ethereal decorations such as flowers, dolphins and classical ornaments adorn slender goblets, glasses, jugs and hourglasses inspired by Venice’s golden age of the Serenissima. His more modern creations, developed whilst in America, are also noteworthy. They see minimalist, even a little ironic, often accompanied by tiny human figures that complete the work. At the far end, beyond the display area, is his studio, with long benches, hollow glass tubes and solid rods in a panoply of diameters and thicknesses alongside sheets of gold leaf and blowtorches. Cesare Toffolo works in these bright, airy space with his sons Emmanuel and Elia, whom he has taught the family secrets of this magical art. “Personally, I prefer blown glass rather than the solid kind: I like working freehand, I think it is the ideal condition to give free rein to creativity. I have also done my best to teach my sons these techniques and give them an overview of the different stages of the process. But I have always left them free to express their own ‘spirit’.” And this is positively tangible: the creations that leave his studio have a spirit of their own. Cesare Toffolo founded the Centro Studio Vetro, an association established in Murano in 1997 to foster exchanges in glass expertise both in Italy and abroad. toffolo.com

Damocle San Polo 1311, Calle del Perdon, Venice T +39 3468345720

Pierpaolo Pregnolato is a young and cultured entrepreneur who decided to pay homage to the family tradition by setting up an independent publishing house specialising in the publication of dual-language paperbacks and artist’s books. His bookshop in the heart of Venice is a stone’s throw from the Rialto Bridge. In spite of the limited space, Pierpaolo has managed to make the most of every corner: not only by placing the Damocle books on the shelves, but also by setting up two small printing presses with which, when there are no customers

in the shop, he creates small-format books that he binds on the spot. He also has chests of drawers containing the lead and wooden characters used to compose the texts. A whole universe enclosed in just 11 square metres. The editor and artistic director of the publishing house explains: “The care that goes into making a Damocle book is a tribute to the legacy that has been handed down to me through patient craftsmanship and the cultural background that I inherited from my grandparents Ernst Stockhausen and Luigina Vianelli, as well as from Giulio Vianelli, my great-grandfather and founder, in the 20th century, of the Premiato Stabilimento Tipografico e Legatoria Vianelli in Chioggia.” His bonds with the town remain to this day: it is in Chioggia, where the family tradition was first forged, that Pierpaolo Pregnolato opened the printing house where he crafts large books, posters and fliers. “My passion for literature and art prompted me to open this business, and it has allowed me to meet exceptional scholars, artists and actors. I consider myself very lucky,” Pierpaolo confides. He has also worked on a social project with a group of actors to publish books that are sold at the end of performances as a means of supporting charitable organisations. edizionidamocle.wordpress.com

Marina e Susanna Sent Fondamenta Serenella 20, Murano, Venice T +39 0415274665

Extensive knowledge of artisan techniques and the quest for innovative solutions led two sisters born into a long-standing glassmaking tradition to leave the family business and establish their own. Thus, in 1993, Marina and Susanna Sent was founded, specialising in the creation of glass jewellery and artistic objects. Susanna, an architect, has mastered the techniques of glassmaking, decoration, glass fusion, grinding and sandblasting. Marina, who trained in technical studies, oversees all production processes. The Sent sisters created their first objects in a small room equipped as a workshop: they were necklaces made with blown glass beads with a modern design and simple lines and crafted with the lampworking technique. Originally made for their closest friends, these “soap bubble” necklaces proved so popular in the international art world that they were soon exhibited at the Milan Triennale and sold in the bookshop of the New York Moma, as well as in Tokyo, Bilbao and the Victoria and Albert Museum in London. An incredible success that has not stopped since. Today, the showroom and workshop of the Sent sisters are in Murano. They are housed in an early 20th-century cavana (a boathouse) they renovated, which features white interiors and a row of windows overlooking Venice, from Marghera down to Cannaregio and the north of the Lagoon. Their creations are brought to life here with the help of expert glass artisans. The two-storey display area showcases a variety of necklace models made with different techniques, along with bracelets crafted out of traditional round murrina rods which are flattened, and sculptural dresses made using glass beads pierced on both sides. One of their dresses was made as a decorative element for Dolce&Gabbana’s imaginative window displays. The latest products invented by the brilliant artisan designers include feathers crafted out of scraps left over from the glass fusion process, which are never thrown away. marinaesusannasent.com

Kimiko Yoshida Exhibition: The Tale of Genji Palazzo Amalteo, San Polo 2646/A, Venice Contact: Jean-Michel Ribettes, T +39 3518130038

Constrained by the strict norms of her home country, Japanese artist Kimiko Yoshida decided to move to Europe in 1995. Her first port of call was Paris, then she graduated from the École Supérieure de la Photographie in Arles and the Studio National des Arts Contemporaines in Le Fresnoy. Having fallen in love with Venice, she often stayed in the lagoon. Today she lives between Paris, Tokyo and Venice, where she works and displays her large-scale portraits, created with long-life pigment prints on opaque canvases and anti-UV paints. Her work revolves around female identity and the transformative power of art, playing with clothing and pictorial interventions, even on the skin. “I started with self-portraits, mostly monochromes that were fragments of an intimate mesh, elaborations of singular stories. My starting point was the female condition in Japan,” the artist confides. To create her works, Yoshida often collaborates with famous Japanese artisans, as in the case of the Tale of Genji, a medieval poem that tells the adventures of Prince Genji, the Shining Prince. “Starting from the chromogenic prints of my self-portraits on canvas, I created Kakejikus with the help of a Kyoto craftsman who applies delicate designs to illustrate the Tale of Genji. Using a traditional Japanese technique that mixes lacquer with gold or silver powder, known as urushi-e, the images are applied directly onto my photos, which are pigment prints on canvas. In fact, urushi-e literally means lacquered image. The gold dust design made with this technique imitates gold thread embroidery. The resulting image is so light that you can see an ancient image of Genji superimposed on a modern photograph: a double image.” The photograph goes beyond the limits of photography, beyond the object it portrays, beyond time itself. Yoshida’s self-portraits earned her the International Photography Award in 2005. She continues to exhibit around the world, and her work can be seen in the permanent collections of the Museum of Fine Arts in Houston, the Israel Museum in Jerusalem, the Kawasaki City Museum and the Maison Européenne de la Photographie in Paris. kimiko.fr

Il Forcolaio Matto Ramo dell’Oca, Cannaregio 4231, Venice T +39 0418778823

Cultured, self-ironic, in love with his work and his city, Piero Dri is a young astronomy graduate who made a radical life change fifteen years ago, leaving Padua to return to Venice. “I started rowing with my grandfather at the age of three and since then my love for rowing has never waned. Gliding down quiet canals is what Venice is all about, it’s part of its culture. It should be explained to visitors, so that they can better understand the spirit of the city. After graduating, I felt that something was missing: it was Venice. Opening my own workshop was like creating another indissoluble bond with the city.” He decided to be apprenticed to Paolo Brandolisio, a well-known remér (master oar and rowlock maker), who was in turn a pupil of the famous Giuseppe Carli. Thus began his fantastic adventure. Dri stacks walnut, pear and cherry wood in the spacious warehouse he renovated in 2013. He personally oversees the slow seasoning of the wood: about three years are needed to preserve its technical characteristics. Two large vises are fixed to the floor in the middle of the huge workspace. There also many planes with which he creates old and new oars, which are then treated with oil to give them their final finish. “I use one of the vises to hold the oars, whilst the other one, a dò maneghi, with two handles, is used to make the forcole (rowlocks). Each oar and rowlock are made to measure, because you can only achieve an equilibrium if the oar, the rowlock, the vessel, the water and the rower all strike the perfect balance. Even just a few millimetres can change the end result.” Piero Dri’s customers are gondoliers, professional rowers (for sport or leisure), and boat builders. But there is more. “Rowlocks have become collectibles, and if you look at them, they are in fact sculptures in their own right, one-off pieces that have different shapes and wood veining. They are really unusual pieces that represent our city beautifully all over the world. The first person to display

a forcola in a museum was master remér Giuseppe Carli, who in the 1960s exhibited one of his rowlocks at the MoMA in New York.” Piero Dri has also produced a number of sculptures for collectors all over the world: his artistic forcole bear witness to Venetian expertise, a symbol of Italian style around the globe. ilforcolaiomatto.it

Paolo Olbi Ponte di Cà Foscari, Dorsoduro 3253, Venice T +39 0415237655 – +39 3408234035

If age depended on a person’s enthusiasm and plans for the future, Paolo Olbi would be between 25 and 30 years old. Not least because, after more than fifty years in the business, his passion for his craft has never waned. “In the early days, I had up to one hundred employees, almost all of them women. They were incredibly skilled. I have always used traditional equipment, and I’m proud of my early 20th-century printing presses and my tools for hot-embossing leather,” he confesses with satisfaction. His workshop is housed in the Collegio Armeno. It is not just equipped for binding and covering books with cardboard, but also for printing. “This space would be perfect for creating a school offering binding, printing and typography courses. To teach young people how books are made, and to rediscover the techniques once used by Aldo Manuzio: it would be wonderful to create continuity with his incredible inventions five hundred years later. I have a secret wish: I’d like the Cà Foscari University, which is right in front of us, to work with us to choose poets and poems for publishing. And I’d like a sponsor to take this project to heart!” While waiting for his dreams to come true, Paolo Olbi spends his time on his artistic binding. In keeping with time-honoured traditions, he crafts his incredible works in vegetable-tanned leather, which is less polluting and only involves the use of organic materials. His creativity has also led him to experiment with new combinations of different techniques. The covers of diaries and albums are often crafted in conjunction with artists, using marble, wrought iron, glass and silver to embellish the surfaces. A highly refined product made with bibliophiles in mind. “The Doge Paper we use to make many of our products is made with a design inspired by Byzantine culture, the golden age of trade between Venice and Byzantium. The decorative motifs are only used on the frontispiece, whilst the hallmark of our workshop is on the back.” olbi.atspace.com

Massimo Micheluzzi Ponte de la Maravegia 1071, Venice T +39 0415282190

Massimo Micheluzzi displays his breath-taking one-of-a-kind vases in a large workshop-store, which once housed his father’s antiques shop. His sculptures are crafted in a variety of forms and colours that recall the hues that characterise Venice, the colours of the water and its sunsets, and all its poetry. The master explains: “My passion for glass exploded rapidly, through the contact I had with artists and master glassmakers whose creations we displayed here in my family’s gallery. I met many of these artists thanks to the Venini family, which I frequented from childhood, and for whom I participated in the archiving of the catalogue, photographing their works on behalf of architect de Santillana. Then I decided for a complete change in direction and to try my hand at this magical art, starting my apprenticeship in the workshops of Murano.” His flair and exceptional skill allowed Micheluzzi to craft sculptural vases that immediately made their mark on the international scene. “Most of the shapes I create are decided by the fire itself: glass moves and it is the object that manifests itself, taking on a different form every time.” In 2019, Micheluzzi was awarded the Glass in Venice Prize by the Istituto Veneto di Scienze, Lettere, ed Arti in Venice. Today, his works are exhibited in various museums around the world, from the Metropolitan Museum in New York to the Musée des Arts Décoratifs in Paris. A passion as great as his couldn’t help but prove contagious. So, after spending some years abroad, Massimo’s daughters Elena and Margherita also decided to follow in their father’s footsteps. “When we came back from London, we started working at the furnace in Murano with our father’s encouragement. We made glasses and small vases,” Elena explains. “We decided to create a collection of our own, called Micheluzzi Glass, for the home: hence the choice to make functional objects. Once the glass has cooled down, after being hot-blown, we use the grinder to make engravings of different depths on the surface to achieve the desired decorations. The facets produce incredible reflections, depending on the thickness of the glass and its colour. For us, it’s magic every time.” The glass artworks made by Massimo, Elena and Margherita Micheluzzi can be admired in the family gallery. massimomicheluzzi.it micheluzziglass.com

Ongaro e Fuga Fondamenta Vetrai 43, Murano, Venice T +39 041739439

In 1948, Franco Fuga and Tullia Ongaro, two skilled artisans who were partners both in life and at work, opened a workshop in Murano to make Venetian mirrors. Thanks to their exceptional manual skill and artistic sense, their mirrors soon made a name for themselves not just in Venice but all over the world. Today their work is carried on by their son Giuliano Fuga who, together with his son Ludovico, his business partner Dario Valeri and ten expert craftspeople, continues to make astonishing mirrors using time-honoured techniques, keeping the family tradition alive. The workshop is divided into various rooms: one houses the drawing tables and shelves; one the lathes, ribbons and water pumps; one is equipped with racks for drying the treated pieces; a room is dedicated to silvering; and a room to restoration work. Ludovico, who started working with his father two years ago, explains: “We always start with a design. We draw a life-size sketch on a 1:1 scale. Then we cut the wood and glass by hand using a diamond drill. We use a grinder to smooth the rough edges, then we use lathes of different sizes and materials to carve out the desired engravings and designs. Finally, we proceed to silver plating with a chemical process, superimposing several layers of silver. Different effects can be achieved, from a normal mirror to an antique-effect one, using five types of antique finish. Some years ago, we started experimenting with other types of finish including coloured and oxidised mirrors, which are also used to create contemporary artworks.” Among the works carried out by these extraordinary artisans are the restoration of all the mirrors in the La Fenice Theatre in Venice and the covering of the walls of the palace of the King of Saudi Arabia. ongaroefuga.com

A LEGACY OF CULTURE AND BEAUTY

Giovanna Marchello

Thanks to the awareness-raising activities of the Fondazione Cologni dei Mestieri d’Arte, also through the pages of this magazine, the Italian public has become familiar with the Living National Treasures of Japan. And next April, on the occasion of the “Homo Faber Event,” it will be possible to admire as many as twelve masterpieces created by these incomparable masters, brought together for the first time in the same space. Considered that there are only 57 Living

National Treasures working in Japan today, the proportion is no small feat. Advocated by the Michelangelo Foundation for Creativity and Craftsmanship, the exhibition “12 Stone Garden” was conceived by two experts in the field: Naoto Fukasawa, designer, professor and curator, and Tokugo Uchida, director of the MOA Museum of Art in Shizuoka and former chairman of the selection committee of Living National Treasures for the Japanese government. “The twelve Japanese Living National Treasures selected for the exhibition,” Fukasawa explains, “are active in their respective crafts, such as pottery, weaving and dyeing, lacquering, metalworking, woodworking, bamboo crafting and doll making, and they apply a variety of techniques and materials with exceptional skill. The objects we have chosen could be interpreted as contemporary art, which can be recognised as treasures of the world. In fact, they are not only Japanese Living National Treasures, but also World Living Treasures, expressing the beauty of Japan, as well as of the world.” Housed in the spectacular Palladian Refectory inside the Fondazione Giorgio Cini, the exhibition showcases these exceptional works on twelve stone-shaped blocks designed by Fukasawa himself. “They are rather minimalistic stones to emphasize the traditional work of Living National Treasures,” Fukasawa continues. “I tried to create a neutral ambience in the Palladian Refectory to highlight their beauty. The stage I designed creates a minimalistic contrast to the Renaissance and the legend of traditional Japanese art.” Fukasawa’s exhibition sets out to offer visitors a unique perspective: the subtle use of lighting creates a contrast between the imposing interior of the room and the twelve blocks. He imagines a space that is on the one hand dynamic and on the other hand a harmonising experience for visitors, who can observe the details of the artworks from up close and learn about the age-old traditional processes used to create them. The link that unites these artifacts, making them special, lies in the skills, techniques and savoir-faire that render each object unique and meaningful: that is, infused with makoto (crafted with sincerity). “Excellent craftsmanship and high quality of materials are the common thread in Japanese kôgei (art crafts),” Uchida adds. “The techniques employed for kôgei were established in the 8th century. During the following 1,300 years, kôgei artists have perfected those techniques, and passed them down to the next generations. Today the artists make the most use of natural materials and create works with a contemporary twist.” But Living National Treasures also share a design approach, and this is the aspect Fukasawa decided to spotlight in choosing the master craftspeople and their works. “Living National Treasures perform both the design and the creation themselves. In the process of bringing their designs to life, they must bring out the best in all the techniques they have perfected over time. Their creations should also delight enthusiasts and entice them into taking an interest in the styles the works present.” “12 Stone Garden” showcases exceptional men and women who have made the history of Japanese kôgei: Imaemon Imaizumi XIV, a master of the traditional technique of overglazing in making ceramics; Zenzo Fukushima, specialised in Koishiwara-ware; Kunihiko Moriguchi, who creates fabrics in Kyoto’s yuzen textile-dyeing tradition; Sonoko Sasaki, who weaves silk threads with the tsumugi-ori weaving technique; Kazumi Murose, who crafts urushi lacquerware using the technique of maki-e, which dates to the 8th century; Isao Onishi, a cabinetmaker whose designation as a Living National Treasure is for the lacquering technique known as kyushitsu; Yukie Osumi, a master of metal forging; Noboru Fujinuma, who weaves slender sticks of bamboo into fine baskets and other objects; Komao Hayashi, who makes toso dolls using a technique dating back to the 17th century; Jun Isezaki, one of the most renowned master artisans of Bizen ceramics; Takeshi Kitamura, a textile artist who uses ancient weaving techniques; and Kenji Suda, a cabinetmaker who employs a traditional technique called sashimono to create intricate intarsia wooden boxes, using Japanese urushi lacquer. The secrets of the masters are unveiled in fascinating video-portraits by photographer Rinko Kawauchi in a behind-the-scenes glimpse of these production processes. Visitors can thus enter the ateliers of the twelve Living Treasures, discover the traditional tools and natural materials they use to create their works, admire the grace of their creative gestures, and marvel at the poetry they infuse into their work.

THE AESTHETICS OF PRACTICALITY

Akemi Okumura Roy

The “Ateliers of Wonders” is an exhibition that captures the creative moments of 12 Japanese artisans designated as “Preservers of Important Intangible Cultural Properties” (more commonly known as Ningen Kokuho, or Living National Treasures) through the artistic eye of award-winning photographer Rinko Kawauchi. The exhibition is set in the Renaissance-style Cypress Cloister of Fondazione Giorgio Cini. The large-size photos are arranged both on the walls and also printed on cloths hanging from the iron beams running along one side of the cloister. Being outdoors, the natural light enhances Kawauchi’s pure and poetic photographs, which provide a rare opportunity to see the work of the masters in their ateliers. In this space full of light, the photos all come together, inviting the viewer into a world of preciousness made not only of masterpieces, but also the working hands of artisans, the invaluable tools inherited from their predecessors, and beautiful natural materials. Kawauchi both designed and curated the exhibition: “I have selected each artist’s distinctive work scenes and the balance of the overall composition so that it appears as varied as possible. I also tried to create a multi-layered and resonant composition that can be seen by combining the photographs of the 12 Living National Treasures who are full of individuality.” Through her lens she captures the traditional kôgei (a Japanese term that embodies the long-rooted culture of craftsmanship) which has been handed down through generations using traditional techniques (waza in Japanese), which only humans are skilled in. In order to master these exceptional artistic skills and techniques, craftspeople must spend decades to train: a highly specialised process that involves time, skill and patience. Since everything is done by hand - and each process is enormous and incredibly precise, requiring not only concentration and attention, but also “devotion” - some objects can take several years to complete. During the shooting, the famous Japanese photographer was reminded of the amount of time, manual work, concentration, patience and skill that it takes to create an artwork that has been cultivated over many years. “It is the same in every craft,” she says, “and my own work as well. It was a great experience for me to meet these 12 Living National Treasures and to learn from them about the sincerity of craftsmanship.” The masters visited and photographed by Kawauchi specialise in a variety of traditional kôgei: Urushi with maki-e technique (lacquerware); Chiku Kôgei (bamboo craft); Tsumugi-ori (cloth woven from raw silk); Bizen, Iroe and Koishikawa-yaki (pottery); Tankin (metalwork); Mokkogei (woodcraft), Toso dolls, Yuzen (textile-dyeing), Tate Nishiki (warp-patterned brocade); Kyushitsu (coating with urushi). The Japanese word kôgei is translated as “art crafts” in English, but it’s meaning is more profound, because it stands for the skilled creation of works of art that combine aesthetic value with practicality. In fact, it is said that the original meaning of the Chinese character is “a person who connects heaven and earth”. The subjects of the photographs span from daily objects to ornamental pieces, each of which is a masterpiece “created with nature”. The Living National Treasures work with such precision, finesse, exceptional waza and delicate sensitivity that it is hard to believe it is human work. Through Kawauchi’s

photography, each viewer is quietly evoked into the “precious moment” of a historical work of art. I have had the privilege of interviewing some of the Living National Treasures portrayed by Kawauchi. They are all very modest and have a firm belief in traditional kôgei: “All materials are obtained from nature,” they say, “with which we should live in harmony. The essence of Japanese tradition is not only to pass on the traditional waza and beauty, but also to combine them with our own creativity and unique styles, which will become a tradition for future generations. Art should be a source of joy, and it should be a source of new life from the moment of birth.” Their approach is connected to Kawauchi’s work too, as the natural world is an essential element of her photography, through which she explores the theme of natural change and the environment. Kawauchi’s photographs have a unique transparency, gentle light and colour tones. They are overflowing with a sense of reverence to artisans and a spirit of handover of the beauty of traditional kôgei. Her photographs capture a moment in time of each master artisan and their works, which are full of life, and seem to live on forever. Through her exquisite photographs, she also conveys to the future the important traditions and wisdom of Living National Treasures who have devoted their lives to the preservation and transmission of kôgei. “Through this shoot,” she confides, “I was able to experience the infinite possibilities that the human hand can create. I wish I could share this realisation with everyone.” And thanks to the “Homo Faber Event”, we can experience the traditional art that only human beings can create in harmony with nature.

MAGNAE CHARTAE

Ruben Modigliani

The exhibition “Magnae Chartae”, curated and set up by Michele De Lucchi together with his studio AMDL Circle, is dedicated to paper arts across Europe. “My involvement with ‘Homo Faber’ came about for two reasons: my friendship with Franco Cologni and Alberto Cavalli and the fact that I was in charge of the project to restore the Manica Lunga on the island of San Giorgio for Fondazione Giorgio Cini. I have been involved since the first edition, and I would not have wanted to miss this one,” De Lucchi explains with a smile. “When they first came up with the topic of paper, a material I feel a great affinity with, I immediately said yes. But there is another reason, too: Ettore Sottsass, who was my teacher, loved paper. He used to buy it wherever he went, and come back with huge packages (and paper is heavy). Barbara Radice wanted me to have a part of this treasure, and I store it in a chest of drawers.” A wonderful starting point. De Lucchi too loves paper: he always carries around little blocks of A4 sheets divided into four, on which he draws and takes notes. In the room he curated at the last Biennale d’Architettura, an exhibition of visionary projects on the future of architecture, he displayed around 600 sketches he had made on his “pocket sheets”, as he likes to calls them. The protagonist of this event is a world with thousands of years of history, and countless stories to tell. The venue, which has never hosted an exhibition before, is a former church (“Bizarre, with chapels only on one side”, observes the architect), which has been renovated and reopened to the public on this occasion. It is an immersive exhibition, inviting the public to admire first-hand the skill and artistic talent of the master artisans at work in the hall. At the entrance is a large sphere designed by Belgian Charles Kaisin, composed of thousands of tiny origami created on site and hung on thin threads. The installations are engaging and always generate a sense of wonder: paper dresses and wigs made by real virtuosos; a small pavilion (a yurt? a garden tent?) made from artistic wallpapers handmade in the San Patrignano workshops; papier-mâché bowls made from the pages of old books by Swedish paper artist Cecilia Levy’s; interlocking geometric sculptures by Greek artist Zoe Keramea; complex origami figures crafted from a single white sheet by Finnish artisan Juho Könkkölä; sculptures made from hundreds of thin strips and spectacular calligraphy tables. Then there are the images shot by photographer Susanna Pozzoli at the Gangolf Ulbricht paper mill in Berlin, where paper is made by hand using ancient moulds: the kind of paper loved by artists and restorers all over the world. At the end of the nave is a special area dedicated to a large installation by Montblanc, a brand of excellence in the world of writing: a spectacular ink bar where visitors can test pens whose nibs, embellished with a sheet of gold, are crafted before their eyes by the maison’s artisans using a special machine. “It’s an immense world that cannot be summed up in a single concept,” De Lucchi continues. “I believe that artists are really drawn to the variety offered by paper, which is not just something you write on, but can also be a construction material, with which you can create shapes and objects, coverings, surfaces and backdrops. The elements that make up the scenography are also made of paper: the structure is made of bars with a hollow, C-shaped section, in pressed cardboard with sheets of cotton paper as a backdrop. It is a material that appears delicate but can last for eternity. This two-fold fragility that challenges time itself is fascinating. We wanted to stage an exhibition on paper, which would reveal the ductility, plasticity and great scope of uses in which this material can be employed, and which in Japan is also used to create architectural elements. Its transparency is an important aspect: it means light, the ability to perceive that there is something beyond. This is the beauty of traditional Japanese paper houses: through that paper you can perceive that there is another space behind it, and it’s something I really like. We don’t talk about it in this exhibition, though it deserves a whole event of its own. I remember that in the 1980s, when the first computers arrived, people started to say ‘it’ll be the end of paper’: they were wrong.” As this exhibition proves, to surprising effect.

MARVELLOUS LIAISONS

Alessandra de Nitto

At “Homo Faber Event” 2022, in the evocative setting of the Cypress Cloister Hall, the Fondazione Cologni dei Mestieri d’Arte is called upon to curate, with the scenic design of Pedron & Associati architecture studio, an exhibition dedicated to the “Marvellous Liaisons” between Italy and Japan. The relationship will be celebrated through an extraordinary selection of works by great Italian master artisans inspired in various ways by Japanese art, aesthetics and customs. The fact that these special, historically attested relationships are still alive and fertile is widely demonstrated by the works on display, which are the result of the skill, talent and design expertise of 18 outstanding Italian masters and ateliers. Many of them belong to the exclusive “Golden Book” of the MAM - Maestri d’Arte e Mestiere (Masters of Arts and Crafts), a title created by Fondazione Cologni and inspired by the Living National Treasures of Japan, a designation conferred to the most talented artisans of the Land of the Rising Sun. The tribute to Japan unfolds in various ways, based on themes, inspirations, materials, decorations, typologies and production techniques, giving rise to works that are rich in references and at the same time very personal reinterpretations: many of the most significant sectors and materials of Italian fine craftsmanship are represented. In some cases, the works are the result of successful collaborations with Japanese masters. This is the case for the Scuola Mosaicisti del Friuli in Spilimpergo, which has spread the art of mosaics all over the world. The school presents two decorative mosaic panels resulting from the special venture with Toyoharu Kii,

inspired by the theme of clouds and Japanese haiku poems, which are evoked by the alternation of tesserae and joints, full and empty spaces, movement and stasis prompted by the mosaic-laying technique. Sonia Maria Luce Possentini’s refined watercolours were created in collaboration with Akiko Yosano for the illustrated book Non dubitare dei sogni (Carthusia): the light, sensual poetry of the Japanese poet’s tanka, which describes the passing of the seasons, is interpreted by the illustrator with enchanting landscapes and rarefied atmospheres. A true work of art was designed purposely for “Homo Faber” by the famous Officina Rivadossi, the jewel in the crown of Lombardy and Italian cabinetmaking. In the atelier of Nave (Brescia), the skilful hands of Giuseppe and Emanuele Rivadossi have given life to a magnificent piece of furniture inspired by the rationality and lightness of the imperial villa of Katsura, in Kyoto. But the entire oeuvre of these master cabinetmakers is pervaded by an extremely human and very Zen aesthetic, which focuses on man and nature, on the nobility of the material and the sacredness of craftsmanship, on functionality and an ideal of a simple, harmonious, solid and serene beauty. In Aquario d’Arte (Art Aquarium) by Sicilian master Platimiro Fiorenza, the homage to Japan is expressed both in the choice of materials and in the iconography: the exquisite sculpture made of Mediterranean corals, oriental corals and silver represents, in the intentions of its creator, “a bridge between East and West”. The link is expressed not only in the materials used but also in the beautiful figure of the carp swimming against the current, which represents energy and strength in Japanese culture, and is also a symbol of marital happiness and good luck. The choice of the historic Ginori 1735 porcelain manufactory focuses on the fascinating and innovative technique used to craft the large Vaso con Pavoni (Vase with Peacocks) in glazed porcelain, which for the first time combines kintsugi, the ancient Japanese art of precious seams, and the typically Tuscan gold leaf technique. New beauty can be born from waste and, in keeping with its innovative spirit, Ginori 1735 has accepted the challenge to present an unprecedented re-edition of a large historical vase, born from the fragility of porcelain and made entirely by hand. In the powerful Eden sculpture, a spectacular block of onyx is modelled, smoothed and polished by hand. The bronze is cast with a frame and lost-wax casting on a brass and stainless steel pedestal. Milanese craftsman Gianluca Pacchioni, one of the most talented and imaginative masters of metalworking, breathes life into a veritable ode to nature in harmony with man the maker: a touching and virtuosic fluid dance “in which stone becomes soft and voluptuous in the shapes given by man, but marked by the veins of the rock itself”. In this room, glass finds its greatest expression of artistic flair in the impressive series of six works created by Lino Tagliapietra, a true living treasure of Italian fine craftsmanship and a global ambassador of the great art of Murano glass. Surprising and breath-taking, the works on show are made in hand-blown glass using multicoloured canes and murrine in the Stromboli and Fenice series, the latter directly inspired by Japanese ideograms. It is impossible to describe in depth all the masterpieces that visitors will be able to admire, but it is just as impossible not to mention them: the Murano glass mirror carved and engraved by the highly talented Barbini brothers; the Kakiemon mirrors with three-dimensional decorations, crafted using the typical techniques of the Real Fabbrica di Capodimonte; the decorative panel in carved pinewood by the great Florentine cabinetmaker Davide Nencioni, with scenes of aquatic life in a neo-Deco style imbued with Asian influences; the commesso fiorentino “stone painting” masterpiece with flowers and a flight of butterflies by the historic Bottega Scarpelli, an all-Italian pride, from the Medici Renaissance manufactories to the present day, thanks to the talented hands of Renzo and Leonardo; the fascinating traditional Venetian masks from the renowned Bottega dei Mascareri; the sophisticated and precious screen with “Japanese joinery” by Lunardelli Venezia; the Sirena partenopea con tatuaggi giapponesi (Neapolitan mermaid with Japanese tattoos) in Vietri majolica hand-painted with traditional enamels and colours by master craftsman Francesco Raimondi, who mixes, between myth and legend, the traditions of Campania and Japan with virtuosity, a fantastic vein and irony; the highly refined masterpieces by Brianza cabinetmaker Giordano Viganò, including the Red Fun coffee table, inspired by an ancient kimono; the series of three conical tables in brilliant lacquer finish with brass and chrome-plated steel inserts by Giuditta Doro of Alchymia; the silver hedgehog and octopus by Florentine silversmith Lorenzo Foglia, true proof of creative imagination and technical virtuosity in crafting objects from this precious material; and finally, the miniature theatre by the Carlo Colla & Figli Marionette Company, with the wonderful scenes of La Sposa del Sole (The Bride of the Sun), bringing the curtain down on this spellbinding spectacle! A true gallery of masterpieces of Italian fine craftsmanship, whose creators have been able to pay an intensely fascinating tribute to Japanese art, interpreting its great lesson in the name of excellence and originality.

THE FUTURE OF TRADITION

Andrea Tomasi

A dialogue between two organisations that have been committed for decades to defending and raising the profile of craftsmanship welcomes visitors to “Homo Faber” in the Novitiate Parlour of the Palladian Refectory. The exhibition, entitled “Masterful Gestures”, brings together the Institut National des Métiers d’Art and the Queen Elizabeth Scholarship Trust, two of the Michelangelo Foundation’s long-standing partners in its mission to promote fine craftsmanship and ensure the passing on of know-how to the younger generations. The handing down from master to pupil is the focal point on which the Institut National des Métiers d’Art is focusing its presence at “Homo Faber”. The French institute, founded in 2010, actually hails back to the Société d’encouragement aux arts et à l’industrie first established in 1889. It reveals its Maîtres d’Art-Élèves programme through four duos of absolute excellence: masters and students who have now become independent and who come together to share ideas, working tools and time in pursuit of perfection. “‘Homo Faber’ is an important opportunity to demonstrate the value and impact of the Maîtres d’Art-Élèves programme at a European level,” explains Chloé Battistolo, project leader for the programme. “In 1994, in order to safeguard rare savoir-faire from disappearing, the French Ministry of Culture created the title of Maître d’Art, a unique distinction inspired by the Living National Treasures of Japan, to which the master is entitled for life. Not only in recognition of his or her work, but also as a symbol of commitment and desire to pass on knowledge to the younger generations. Thanks to the support of the Fondation Bettencourt Schueller (the main sponsor of the programme since 2016), for three years the Institut National des Métiers d’Art has been accompanying these couples on their path of transmission.” The four duos featured in “Masterful Gestures” are examples of successful processes, some of which have already been completed whilst others are still underway. Judith Kraft and Mathieu Pradels began working together in 2014, and today they are internationally renowned masters in the field of antique violin making. Engravers Yves Sampo and Claire Narboni, on the other hand, met at the Monnaie de Paris, where French euros are still minted and collector’s coins, medals and trophies are created and produced. More than ten years after they first started working together, Ludovic Marsille and Alice de Kerchove de Denterghem, experts in crafting keys and locks, continue to share an atelier. The French roundup closes with Fanny Boucher and Marie Levoyet, who practice heliotypography, a highly refined and rare technique dating back to the 19th century, which involves transferring an image onto a sheet of copper before producing a chalcographic print.

Sussex basket weaver Annemarie O’Sullivan, who grows her own rushes, luthier Shem Mackey, founding member of the British Violin Making Association, Albanian-born sculptor Andrian Melka and leatherworker Mary Wing To, who trained at London College of Fashion and at the Royal Mews, are the four masters presented by the Queen Elizabeth Scholarship Trust, a British charity founded by the Royal Warrant Holders Association in 1990 under the patronage of H. R. H. the Prince of Wales, which every year provides financial support to promising young craftspeople through scholarships. “Out of the more than 600 names we have helped over the years, we have chosen four talents at the peak of their careers, absolute masters in their craft who are also able to demonstrate the many fields we are working in,” says Deborah Pocock, CEO of the Queen Elizabeth Scholarship Trust. “Our main goal is to ensure a future for traditional crafts through their transmission to a new generation of artisans. After the terrible months that have put our community to the test, which saw the closure of several retail platforms and the cancellation of important events, we believe that the ‘Homo Faber Event’ is the perfect opportunity to celebrate this mission and a renaissance of the crafts.”

MECHANICAL MARVELS

Nicolas Lemoigne

For the past ten years, students of the Master of Advanced Studies in Design for Luxury & Craftsmanship at ECAL/University of Art and Design Lausanne have worked closely, and in fruitful cooperation, with prestigious and storied maisons in disciplines that impose the highest standards of excellence, ranging from fine watchmaking to tableware, fashion, gastronomy and artistic craftsmanship, and which apply specific crafts and techniques to noble materials. The partnership with Association Mec-Art (Pour la mécanique d’Art) is a perfect example of this approach, giving students the opportunity to work alongside craftspeople established in Sainte-Croix. The town, in the Swiss Jura, is home to the specialisations involved in the creation of art mechanics, such as automata, music boxes and handcrafted watches, renewing traditions that are part of the UNESCO List of the Intangible Cultural Heritage. This ambitious project between educational, manufacturing and cultural hubs brought international students together with world-renowned designers and artisans in a combination of creativity, innovation and mechanical engineering. Under the supervision of myself and Fiona Krüger, designer and lecturer at ECAL, and thanks to a group of four students from the 2020 academic year (Charlotte Là, Switzerland; Ebony Lerandy, France; Chialing Chang, Taiwan and Sunny Oh, USA), a project was developed that won the attention and trust of both master artisans and representatives of the Association Mec-Art, including professionals of the standing of Denis Flageollet, Nicolas Court and François Junod. This project, developed and produced directly in Sainte-Croix, aims to create five interactive mechanical installations whose aesthetic, scenic and sound characteristics perfectly combine the know-how of master craftspeople and the vision of young designers. Each installation has a name and an identity. “Récit” is a map made of inlaid wood and a composite material modelled in 3D, representing the municipalities of Sainte-Croix and L’Auberson, places of choice for mechanical engineering in Switzerland. Its off-axis rotation allows visitors to observe, through a magnifying glass, the iconic locations linked to the district’s craftsmanship. “Souffle”, on the other hand, consists of three transparent pistons that generate a breath of air that animates linen paper discs spinning in a poetic way. The moving parts of “Dance” are inspired by the ballerina mechanisms found on some music boxes. The alternating mechanical movement randomly activates the blue glass legs, creating the effect of dance. “Résonance” evokes an ancient musical movement combined with a mechanical animation that causes a sound box to rise and fall. When the two parts are in contact, the wooden surface of the body acts like a soundboard and amplifies the sound effect. And finally, “Jeu” consists of an automaton’s arm trying to catch a bird that flies away and hides, only to randomly reappear. This unique project will be presented at “Homo Faber Event” with a patron of excellence, the British expert in fine mechanics Simon Kidston. A hall at the Fondazione Giorgio Cini, renamed “Mechanical Marvels” for the occasion, will house all five structures. The scenography, conceived by Swiss designer Charlotte Therre, will be set in a prestigious historical context and will emphasise the immense proportions of the room, creating a true “space within a space”. As they move around this immersive and engaging installation, enriched by lighting, texture and transparency, visitors will have the opportunity to activate the mechanisms by turning a handle that brings the different automata to life, making the magic happen.

THE SPLENDOUR OF WHITE GOLD

Damiano Gullì

“Porcelain is a material of incomparable beauty. It requires care and dedication… It requires a journey.” So writes Edmund de Waal, one of the world’s finest ceramic artists, in The White Road. Journey into an obsession. In it he traces the history of porcelain from Jingdezhen to Venice, from Versailles to Dublin and Dresden, all the way to the hills of Cornwall and the Appalachian Mountains of South Carolina. A journey through time and space that reveals the preciousness, fragility and great flexibility of this material, with its mysterious and ancestral charm. And it is a poetical journey from Europe to Japan that David Caméo and Frédéric Bodet offer in the exhibition entitled “Porcelain Virtuosity”, which they are curating for “Homo Faber Event” 2022. Staged in the Longhena Library of Fondazione Giorgio Cini in Venice, the layout of the exhibition is designed by studio _apml (Alessandro Pedron and Maria La Tegola). It must be said that the virtuosity evoked in the title is never an end in itself. Instead, it is the clear testimony of the extraordinary skill and visionary prowess of artists, designers and “intelligent hands” constantly engaged with a myriad of styles and techniques, ranging from the recovery of figurative art to abstraction. The lines between art, craftsmanship and design become blurred. What emerges is the richness and variety of an emotional production of high formal and expressive quality, striking a balance between tradition and innovation, technique and poetry, experimentation and influences from different cultures. With the will to push beyond boundaries, it strives to achieve constant, even radical transformation and reinvention of its languages. “Contemporary artisans should be encouraged to change their perspective: the future belongs to those who are willing to go beyond expectations, to revitalise and renew their craft, and in the process capture a young audience with the strength that is represented by beauty, by the ’know how’ and, of course, by the final object,” Caméo emphasises. But the beauty mentioned by Edmund de Waal has acquired a different form. It is “imbalanced”, at times ironic and playful, whilst at other times it is open to flaws, to the unconventional. Echoes of exuberance and excess redolent of Baroque and Rococo linger. At the same time, there are also more minimal and contemplative approaches. In the same way, the works by independent ceramicists are displayed alongside those yielded by joint ventures between international artists and designers and some of Europe’s most prestigious manufactories. In an atmosphere that is part wunderkammer part cabinet des curiosités, Naoto Fukasawa’s poetic ennoblement of everyday life for Sèvres alternates with the dreamlike memento mori of Katsuyo Aoki – intricate decorative systems turned into the work’s supporting structures. The work on memory by Bouke de Vries alternates with the allegorical, allusive veiled busts of François Ruegg. A journey

through the exhibition also offers encounters with Chris Antemann’s figurines for Meissen – indebted to imagery and iconography of the 18th century and at the same time lucid analysis and parody of the man-woman relationship as well as reflection on domestic rites, social labels and taboos – and the work by Fernando and Humberto Campana for Bernardaud, with its riot of animal and plant-inspired forms. This is just a taster of the protagonists featured in “Porcelain Virtuosity”. The journey is in fact long. And studded with wonder.

THE MAGICAL OCTAGON

Alessandra Quattordio

As if by magic, Europe’s finest artistic craftspeople are concentrated in one place: a temple of beauty, not by chance located in the Lagoon of Venice, right in front of St. Mark’s square. The island of San Giorgio Maggiore is lapped by the waters of the Giudecca Canal and dominated by the profile of a church, designed almost 500 years ago by Palladio, which rises from the waters like an immaculate mirage with its airy marble terrace. At the same time, it remains concealed from those who pass by boat, exactly like its magnificent gardens, mostly hidden from view. The Fondazione Giorgio Cini hosted the first edition of “Homo Faber” in 2018. As its name suggests, the event is a showcase of the skills of master artisans expressed in a variety of works crafted from layer upon layer of know-how: knowledge of materials, technical skill, and the ability to translate inventive genius into magnificent works of art. In April 2022, the second edition entitled “Living Treasures of Europe and Japan” will represent the continuation of a journey that the Michelangelo Foundation embarked upon years ago. A voyage to countries across the globe, on a quest to seek out the worthy interpreters of an eternal savoir-faire: artisans whose imagination is nourished by the traditions rooted in their respective histories and cultures, but who are also projected towards a visionary dimension that only individual talent can yield. The leitmotif of one of the 15 sections of the forthcoming “Homo Faber Event” - the exhibition “Pattern of crafts”, curated by Sebastian Herkner - is represented by the elegant octagonal pattern in interlocking white and grey marble that decorates the terrace in front of the church of San Giorgio. Rich in symbolism alluding to the theme of eternity, the octagon is presented in the exhibition designed by the German designer through the individual interpretations of 18 artisan-artists who, together, recreate the geometric decoration. Herkner learned the meaning of craftsmanship from his father, who was an artisan. He has long since become a designer for major brands, and was named Designer of the Year 2019 at Maison&Objet. He explains: “I asked each of the artisans picked for this project to interpret the octagonal motif in their own way, using their manual skills and the materials they feel suit them best. I am convinced that making a product by hand tells a unique story, especially when it is crafted with love and passion.” None of the artisans involved in the project shrink from the sacred fire of burning creativity. Here, then, are their names: Violaine Buet, who turns Brittany’s seaweed into fluid textile material; Sevillian Francisco Carrea Iglesias, who elaborates sumptuous embroideries both for sacred vestments and for the creations of well-known fashion designers; German Edition van Treeck, which places its expertise in high quality glass objects at the disposal of designers; Danish Signe Emdal, whose textiles see a combination of digital techniques and natural inspiration; Julien Feller, a modern “alchemist” who turns wood into lace in a tribute to Belgian tradition; Spanish Henar Iglesias, who composes feathers with mathematical precision, drawing on pre-Colombian traditions for inspiration; London-born Daniel Heath, who unravels fabulous stories from the decorations of his wallpapers; Séverina Lartigue, who, in the very heart of Normandy, crafts silk flowers that look as though they have been plucked straight from the Garden of Eden; Parisian Anna Le Corno, whose fine marquetry places her on a par with miniaturists of days gone by; Atelier Mestdagh which, following in the footsteps of Belgium’s Art Nouveau, transforms stained glass into displays of light and colour; Naturtex, which embodies Spain’s time-honoured tradition in making exceptional mats and rugs from natural materials; Venezia Orsoni 1888, which turns mosaics into a dreamlike kaleidoscope; French Marie de la Roussière, who uses lacquer as an instrument of painstaking magic; Rubelli, which displays fabrics recalling all the splendour of the days of the Doges of Venice; José Vieira, who emulates the God Vulcan in Coimbra as he chisels metals, copper and tin; German Tabea Vietzke, who crafts intarsia with straws as if it were a priceless fibre; Zanat, who guards the Balkan secrets of woodworking; Palmalisa Zantedeschi, who plumbs the depths of Veronese marble, releasing it from its physical essence, yielding a more ascetic interpretation of the material. And… voilà! From the parvise to Fondazione Cini’s pristine Sala Barbantini, the octagon lives again!

THE CHARM OF FRAGILITY

Giorgia Zanellato and Daniele Bortotto

Our journey to Venice began in the winter of 2013. We are often struck by the beauty of a place as we look up and observe what looms over us. In Venice, however, we learned to change our point of view, to look downwards. On cold February days, the light filters through the mist, highlighting what is difficult if not impossible to see elsewhere. Shades, marks and imperfections, evident traces of a unique phenomenon: high water. A delicate issue, which offered us a starting point in an intimate and personal process, which continues to this day, of acquainting ourselves with this city. A few years later, our curiosity piqued by the desire to relive the same places with a more mature approach, we visited St Mark’s Basilica, where we came across a treasure lying at our feet, often overlooked by visitors busy admiring the magnificent vaults covered with gold leaf mosaic. Fired by our enthusiasm, we began to discover the wonderful polychrome mosaics that cover more than 2,000 square metres of the basilica’s floor. A complex, elaborate set of ornamental motifs of deep symbolic meaning. A timeless work of art embracing stories and distant worlds. St Mark’s is a millenary building site, and through its beauty it tells the story of the city itself, of its power and its conquests, of the discoveries made afar that still remain here. Its floors are messengers of a timehonoured way of doing things, which has been handed down over the centuries and is now part of a new world struggling to preserve them. “In Venice, applied arts enjoy a privileged position because the craftsman knows that such an unusual city was born, and remains alive, thanks to the work of his hands, in all its many expressions.” Thus wrote Guido Perocco in L’arte dello smalto in 1984, offering us the best possible insight into Venice and its treasures. Styles and epochs have passed, and the very face of the city has changed, but the craftsman alone has always had the power to renew this centuries-old heritage. The history of Venetian know-how is intertwined with the vicissitudes of the individuals who forged these places. Yet in Venice the hands of man are not just tasked with giving shape to matter. In fact, they must also protect its beauty from nature’s force, from the water that surrounds and often submerges it, taking away fragments and leaving indelible signs on it. St. Mark’s Basilica is the cornerstone of the lagoon city, and it is perhaps the point most exposed and affected by the rising tide. In the basilica we see the patient and incessant work inflicted by time and water, which have indelibly changed the appearance of every stone, wall and plaster. A vocabulary of marks in which imperfections, breakages or absences of some kind provide the cue to tell a story through the project.

This is how the “Tracing Venice” project was born. A journey that takes the form of a series of seven works inspired by the motifs on the floors of St Mark’s. Produced by De Castelli in a metallic mosaic, they bear the signs of the wear and tear of the original floors, enhanced by infinite shades of copper, brass, iron and steel. Why translate a story linked to stone with a material like metal? Because tradition needs to be stimulated with ideas, and “Tracing Venice” offers a contemporary interpretation of this age-old story. Once again, the skilled hands of the craftsman come into play, oxidising and eroding the material with irregular compositions and patches of colour. De Castelli is a modern forge that takes great pains to preserve age-old techniques and knowledge whilst interpreting them in a way that is open to the future. Through elaborate and sometimes uncontrollable processes, we sought out and described the marks inflicted on the original mosaics over the centuries using a creative and at times romantic approach. As Mario Piana, the Chief Architect of St Mark’s explains, the Basilica is “a living organism” to be protected and preserved day by day. “Tracing Venice” is a tribute to its history, to its ability to withstand time and strike a balance with such a delicate and unpredictable ecosystem.

BLOSSOMING BEAUTY

Sylvain Roca

The scenography I envisaged for the “Blossoming Beauty” exhibition is rooted in the fertile terrain of potential, significant dialogues between material creations and the sensory environment (physical and digital) that I have been exploring for several years, in particular through “immersive” projects with Maison Cartier, the Louvre, the Institut du Monde Arabe, in France and abroad. Whether the subject of these exhibitions is social, historical, artistic or scientific, the intuitive, emotional and universal aspect of this approach turns events into individual and collective experiences, in which the sensorial dimension unleashes a cognitive appetite. The creation of “Blossoming Beauty” was imagined starting from the dialogue between the location (the White Hall of Fondazione Giorgio Cini), the works (unique glass creations made by Venini and designed purposely for the event), the authors (ten international flower designers), the fundamental principles of the Michelangelo Foundation, the identity of the “Homo Faber Event” and, of course, the island of San Giorgio Maggiore. It is about weaving bonds, both objective and imperceptible, between each of these protagonists. All of which calls for a period of immersion, of active and intuitive understanding, revealing a scenic ecosystem in which the elements support each other and foster an exchange. The particular circumstances experienced in the last two years have allowed us to extend this reflection, to hone and perfect our creation. It is also a question of sharing experience with a dedicated team set up with the backgrounds and talents of each in mind. We have Christian Holl, engineer, sound designer and inventor, Olivier Brunet, director, and Antoine+Manuel, graphic designers and artists, who have gradually come on board to conceive this creative adventure. “Blossoming Beauty” punctuates the visit to the “Homo Faber Event” in a unique way. A minimalist parenthesis conceals a rich organic and sensorial macrocosm, a union and fusion of two lively, shape-shifting crafts: glassmaking and flower creation. The ten flower designers in the project, all coming from different cultures, each contribute with their own aesthetic vision. They are British designers Philippa Craddock and Nikki Tibbles, both representatives of the UK’s floral tradition, and the all-female trio of White Pepper Studio, inspired by Japanese ikebana. From the Empire of the Rising Sun come Satoshi Kawamoto, whose shop-laboratory in Tokyo has been joined over the years by those in New York and Milan, and Dane Nicolai Bergmann, who put down roots in Japan before going on to become an undisputed star of floral art. Frenchman Frédéric Dupré has also notched up an award, with the title of Meilleur Ouvrier de France, along with Spainish Daniel Santamaria, who alternates his work as flower designer with teaching at the Escuela de Arte Floral in Barcelona, and German Gregor Lersch, an undisputed master who proposes his workshops around the world. The line-up is rounded off by the exceptional creative verve of Lithuanian Mantas Petruškevičius and the rarefied poetry of American Emily Avenson, who grows her flowers on a farm in the Belgian countryside. For the first time, these masters have measured themselves not only with flowers but also with vases: unique vases, which Venini asked its master glassworkers to interpret and produce. And which must be enhanced to best effect. Thus, two simple parallelepipeds form a lively setting with the works set in the middle. The central combination of vases and floral arrangements dance gently in a slow whirl to the sound of a mysterious musical composition, which extends infinitely in the depth of the lacquered walls and mirrors. All around, in the four corners, original materials metamorphose as they stretch and intertwine with one another. Because there is life in hybridisation, and life must always blossom to reveal its most beautiful form.

CRAFT BIODIVERSITY

Jean Blanchaert and Stefano Boeri

As far back as two million years ago, in the Middle Pleistocene, Homo Habilis was already beginning to use his hands and was able to recognise the qualities of different materials for making tools. Our true ancestor, however, is Homo Sapiens, who lived 1,800,000 years later, about 200,000 years ago. The Neanderthal man is famous for having an intelligence superior to that of any other being that had ever existed. Over millions of years of evolution, human hands acquired greater precision of movement, stimulating the development of the brain. The brain in turn asked the hands to perform increasingly refined tasks. The Homo Faber of the Latin saying, homo faber fortunae suae (meaning every man is the creator of his destiny), is also the living creature capable of expressing his skills to the full by imagining, creating and making things; a living being that loves to build because he is proud of his work, and wants to achieve something beautiful and lasting in life. Manual skills change, but they remain the driving force behind everything.

Jean Blanchaert: In 2018, during the first “Homo Faber Event”, hundreds of Craft Masterpieces sourced in all corners of the Old Continent arrived in the “Best of Europe” hall. Stefano Boeri, in full harmony with the curatorship, invented a display inspired by a meandering river that gave the idea of crossing the whole of Europe, the square-shaped territory extending between Iceland, Russia, Cyprus and Portugal. For the second “Homo Faber Event”, the “Next of Europe” hall will be the result of a very different curatorship and installation from the edition held four years ago, even though the curator and architect are the same. Even the title, conceived by Alberto Cavalli, suggests the objective: to highlight the work of craftspeople, or Craft Masterpieces, and to stimulate in young people the desire to follow the talent of their own hands when they are skilled and capable and to learn a trade from a master in the workshop rather than chasing fashionable chimeras. Emperor Constantine had it all figured out in the 4th century - 1,800 years ago - when he abolished taxes on master engravers who had an apprentice in their workshop.

Stefano Boeri: I am really pleased to return to the “Homo Faber” project. It has been a source of great surprise to me, and I think today’s politicians should draw on the Emperor Constantine’s decree for inspiration. I realised that this time too, the selection of objects is aimed above all at identifying works that

are highly complex and involve sophisticated detailing of the materials, but which are also functional. Another selection criterion is linked to the concept of the atelier, of the craftsmanship school as a means of providing a benchmark, of training, of investing in the time of an object, instead of just its space. In the construction of the object, the master is often assisted by a pupil who thus learns the secrets of the trade. The sophisticated nature of craftsmanship is also measured with the ancient concept of time, and this is something very special. What we have done is to create a different setting from that of 2018, in the sense that in the centre of this space there will be craftspeople working on materials with their pupils. All along the perimeter, like a frame, there will be a large, very simple system of shelves, where we will try to showcase the specific nature of every object, which will have its own space and proportions.

JB: This new layout makes visitor focus on the object, on the Craft Masterpiece in question. This time, Studio Boeri’s installation also relies heavily on lighting: each object must capture the viewer’s attention for 30, 70, 200 seconds. This is why a sort of “magic box” has been designed to attract the spectator’s eye to the object it contains, which will dialogue with the public by showing and telling its story.

SB: Absolutely. This shelving system obviously uses a simple form of communication, but it is suitable for hosting objects of various shapes, sizes and weights, which will need different kinds of lighting. Therefore, if for the first edition of “Homo Faber” we thought of the “River Europe”, a great river with all these sinuous bends hosting the works on display, in this case, by taking everything onto the walls, the work is more, let’s say, a sampling. Besides, the interesting thing is precisely the relationship between the formidable variety of selected objects and the homogeneous flexibility of our project, which helps support this variety. I remember something Umberto Eco used to say when he was talking about Europe: “Europe is based on translation, if there were no translation there would be no Europe.” That’s very true, in fact it is in the translation of different languages that the very meaning, the very concept, if you like the cultural principle, the DNA of Europe is born. I believe that in the end what we have done is to show the visitor, with a sober display that is able to enhance the differences, the varieties, the “translations” of this artisan Europe. Whether Irish, Spanish, Greek, Russian or Norwegian, all these objects will in some way be translated into the same type of representation, into the language of “Next of Europe”, the translation tool of the varieties and differences of the utensils.

JB: Italy may not be the country where people read the most, but it is the country which translates things most, and this is very interesting.

SB: Italy is also the country with the greatest biodiversity in the world - plant diversity, animal diversity - and so, in a way, we are used to coming to terms with this extraordinary variety of landscapes, climates, cultures and dialects. This is our history, really, and it is great that this concept of translating Europe is brought to Venice, which is a piece of Italian history as well as a piece of world history.

TEA WITH THE ARTISAN

Alberto Cavalli

“The gestures, work and materials of artisans are no longer daily, constant presences.” The expression of Tapiwa Matsinde, the British curator behind the extraordinary crafted “Tea Room” at “Homo Faber Event”, is both piercing and dreamy. She conjures up distant scenes in Zimbabwe, her country of origin; of the many activities performed each day in an almost ritualistic, conscious, seemingly unchanging way. The artisans would turn local materials into functional objects, ready for use. For them and their customers, the concept of an object’s value was proportional to the amount of time needed to make it. Along the streets, they would unfold their skills, often learned informally, displaying them to curious onlookers, and in particular to a little girl who, a few years later, would become one of the most important international experts on African craftsmanship and contemporary design: Tapiwa Matsinde. At “Homo Faber Event”, she will be transforming the Padiglione delle Capriate building, an evocative three-nave structure in the park of Fondazione Giorgio Cini, into an original tea room. “One of the first things that struck me when I returned to London from Zimbabwe was the distance between artisans and everyday life. It was something I took for granted, but it isn’t. So the idea of creating a space where the ’look-but-don’t-touch’ dogma does not exist, where objects can actually be touched, experienced and used, really stimulated me.” “The Artisan: a crafted tea room” has its rightful place amongst the 15 exhibitions that make up the “Homo Faber Event”. It is designed to showcase the mastery of artisans who, as Tapiwa observes, seem to be retreating into the shadows and becoming evanescent figures in our cities. But unlike the other exhibitions, “The Artisan” combines the elements of contemplation, wonder and discovery with interaction: an aspect that, for an exhibition seeking to strike a balance between art, craftsmanship and design, can seem new and unorthodox. Visitors to “Homo Faber” will thus be able to experience Tapiwa’s curatorial choices (tables, chairs, vases, sofas, armchairs …) both as exhibits and as furnishing elements in a location where people will actually be able to enjoy a cup of tea. And not just any tea, but a special blend created purposely by Mariage Frères, the celebrated French brand that crafts fragrant and refined infusions. Pulling up a Morelato armchair or a Lunardelli stool, all naturally handmade; taking a Marsilio book from wooden shelves made by hand in the UK; feeling like you’re in an episode of The Crown on Visionnaire’s Peacock armchair; enjoying a game of chess using precious, hand-carved pieces; or even challenging one of “Homo Faber”’s Young Ambassadors to a game on an extraordinary artisanal table soccer set. All these experiences take nothing away from the attention we usually devote to exhibitions, but actually add a sensorial element that not only makes it possible to admire but also to feel (on and around oneself) the refined nature of craftsmanship. “The definition of craft, today, needs to evolve to embrace the many manifestations of human talent, just as the Michelangelo Foundation hopes,” comments Tapiwa Matsinde. “In this tea room, there are both functional and decorative objects, expressions of artisan talent and visions more related to craftsmanship, surprising creations alongside other, more prosaic ones. But the hand of man is there in each of them.” The talent of artisans from Europe, Africa, America and Japan erases the formal and perhaps outdated barriers that separate and fragment man’s creative expressions. Instead, it celebrates something machines will never be able to do as well as we can: interpret dreams and turn them into reality. Even, and above all, in our daily lives.

THE ESSENCE OF DECORATION

Paolo Ferrarini

The narration of how luxury objects are created has always held a special fascination. From ancient mythology to TikTok, the discovery of the great little secrets that lead to the birth of beauty generates wonder and mesmerises us at the same time. Hands engaged in work are the protagonists of videos of all lengths, from a few seconds to a documentary or even a series. A trend that touches the heart of those who love to glimpse behind the scenes, to understand

the true value of objects and to appreciate the authenticity of the processes that go into crafting them. But it is one thing to watch a video, often on a screen that is far too small, and quite another to enjoy the experience in person. “Details: genealogies of ornament” is one of the 15 exhibitions of “Homo Faber Event” 2022, and will help us satisfy many curiosities, quenching our desire to see beauty born before our very eyes. Curated by Judith Clark in collaboration with Sam Collins, the exhibition will allow us to discover unique objects and admire artisans from 15 fashion and luxury brands demonstrating their craftsmanship in person. In line with the other “Homo Faber” exhibitions, there will be a reference to Japan, whose culture is being honoured in this edition of the event. Judith Clark explains the reason for the choice of title, which encompasses a sequence of words that are crucial to fashion and luxury: “I feel the fact that genealogies is plural in the title invites the visitor to wonder which details we might be looking at or tracking: which elements are being quoted and which techniques are being passed down. It makes us think about how motifs and skills are regenerated and reimagined across time. I would like the visitor to see a version of how inspiration works within these extraordinarily detailed projects, taking from different traditions.” Fashion will be the main topic, but not the only one. In fact, the theme is addressed by focusing on everything that revolves around clothing. The exhibition will take us on a discovery of ornamentation through the production of clothes, but above all of accessories, decorations, jewellery, watches and perfumes in a variety of different materials, such as leather, velvet, feathers, precious metals and gemstones. As many as 15 Maisons have been invited to take part, with objects and artisans who will reveal the skills that make them Master Craftspeople, creating and finishing marvellous objects before the visitors’ eyes. The public will be able to admire Alaïa’s sculptural constructions, the timeless watches of A. Lange & Söhne and Jaeger-LeCoultre, Aquaflor’s Florentine art of perfumery, Buccellati’s Milanese silverware tradition, Cartier’s iconic jewellery, Hermès’ “velours au sabre”, Parisian Maison Lemarié’s couture creations, Piaget’s sensual jewellery, Serapian’s mosaic leatherwork, the enamelling carried out by the masters of Vacheron Costantin and the gilding by artisans of the Louvre with whom the Swiss Maison has a cultural collaboration, Van Cleef & Arpels’ fairytale jewellery, Chiso’s magical Japanese kimonos, and Dolce&Gabbana’s Alta Sartoria. Last but not least, a nod to sustainable luxury will be showcased by YOOX Net-A-Porter Group with the help of The Prince’s Foundation led by the Prince of Wales. “Details: genealogies of ornament” will take place in the spaces of the until recently abandoned Ex-Scuola Nautica at Fondazione Giorgio Cini. The exhibition is inspired by the painting Saint Jerome in his study, Antonello da Messina’s late 15th-century masterpiece currently housed at London’s National Gallery. The painting is a display of Antonello’s technical skills but at the same time a small anthology of objects, books, animals, clothes, materials and surfaces. The figure of the saint dialogues with the space and the artefacts, as it will in the exhibition, where every action and every product will be defined in constant dialogue with each other and with the exhibition. Judith Clark - who also designed the exhibition - has imagined a separate space for each craftsperson and for each of the 15 participating houses. The walls and floors of the different areas will be handmade with the intention of creating small coherent worlds, almost like small studios designed in the manner of Saint Jerome. Rather than underscoring the differences, the curator’s approach aims to highlight the similarities between the disciplines, techniques and their origins. This vision fits in with the special link between Europe and Japan that “Homo Faber Event” 2022 has placed at the heart of its programme. “The artisans work at the perimeters of the exhibition,” Judith Clark explains, “as though finishing the exquisite objects within it, underlining a collaborative environment. It celebrates what the Maisons have in common, not only their more general vocation to specialist crafts associated with luxury, and a commitment to adapting those skills for new designs, but also decorative details that appear translated through different materials. This year Japanese culture and craft are being celebrated through the exhibitions so it is details associated with Japanese ornament that create visual relays across the huge space of the Ex-Scuola Nautica.” But how is this profound relationship between the projects on show and the styles of the Land of the Rising Sun expressed? “Japanese culture has been so influential on all the Maisons at different moments in time,” she continues, “in the way we tie a belt, imagine the drawn overlapping layers, petals or fish scales, or celebrate the seasons: we enter an exhibition full of homages, from Cartier designs from the 1920s and 1930s to contemporary commissions for the exhibition.” Thanks to this exhibition, the stories of luxury will also become our own stories: those of a unique experience that we will carry with us for a long time, to pass on the beauty of making and the importance of every detail.

THE LOOK OF EILEAN

Paolo Sivelli

Eilean, “Little Island” in Gaelic, is the name of the fortunate yacht skilfully crafted by William Fife. Little known to most people, Fife was born into a family of three generations of Scottish boatbuilders. He inherited their legacy, going on to become the best-known figure in the nascent world of Anglo-Saxon yachting. William Fife I, II and, lastly, William III himself, or Fife Junior as he was known to his “friends”, proved adept at interpreting the needs, whims and expectations of royals, nobility and the well-heeled of Europe who, in the mid-19th century, developed a taste for this new and curious sport. These were the days of steamboats, back when it took more than thirty days to reach the Americas by sea, and the Industrial Revolution was spawning a new social class of “Industrial Entrepreneurs”. Commissioned by the Fulton brothers, wealthy Scottish metal traders, Eilean was crafted in the Fife family boatyard on the shores of the river Clyde in 1936. Today, after a series of ups and downs, she has reached us to tell her happy story. After traversing the 20th century and its wars, she had fallen into disrepair when, in 2006, providence put her in the way of Angelo Bonatti, then CEO of Panerai, who had the boat’s history charted and had her painstakingly restored, a job that was completed in 2009. The history and art of shipwrights and wooden boatbuilding are lost in the mists of time. Rivers and lakes, not by chance referred to as “waterways”, played a fundamental role in communication and trade from antiquity until the end of the 19th century, when the railway first and then road vehicles led to the decline of these natural highways and the trades that flourished around them. If boats as refined and sinuous as the Eilean have struggled to reach the present day, it is clear that vessels used for transportation and work, much poorer in decoration and finish but equally steeped in tradition and history, have not been as lucky when it comes to telling us the story of their past. A number of high-minded organisations are now committed to defending this heritage, and to ensuring that the boats not already lost to time can be preserved. Thus the story of the Fifes, of Eilean, of the leudo, trabaccolo and barges used to carry the marble for Milan’s Duomo, of the shipwrights that made them in days gone by, can be handed down to future generations. It is with this goal of safeguarding the past, with a view to nurturing new models for a sustainable social economy, that Officine dell’Acqua was established on the shores of Lake Maggiore. A project to redevelop a large abandoned urban area

in the port of Laveno, a hub of craft businesses and of the history of sailing on landlocked waters. The importance of understanding the value of these vessels, not just from an artisan standpoint but above all in social and economic terms, is pivotal for grasping the history of the area, its urbanistic and demographic development. Both are essential for planning future opportunities in the post-pandemic era, including staycations and rediscovering traditional crafts. Today, Eilean not only tells her story, but she is also witness to a past mastery that has only rarely been lucky enough to catch the eye and tug at the heartstrings of someone in a position to save it. Our commitment must be geared towards training and raising the awareness of future generations, so they can grow up with a more qualified, attentive outlook.

PEACEFUL DARKNESS

Alberto Mattioli

It might seem odd to open with a personal recollection, perhaps even unseemly, but I can’t help it. It was 1996, and Puccini’s Madama Butterfly, directed by Robert Wilson, was playing at the Teatro Comunale in Bologna. The performance was actually not new, but an import from the Paris Opéra, where it had made its debut three years earlier. But I had not seen it, not even on video, nor indeed had I ever heard of it. It was a revelation, a happy shock. Japan was not so much as described or even evoked, but rather condensed, purified, distilled to its genuine essence. Form became substance and vice versa, resembling a great void but in actual fact full of meaning, with lights (those lights!) that did not limit themselves to defining spaces and situations, but rather portrayed them without ever becoming “realistic”. And yet, mysteriously, this Japan was more authentic than the “real” one, from the famous (in hindsight and subsequent filming) WAITING chair, in black lacquer and with only one leg, to Frida Parmeggiani’s magnificent sculptural costumes. And all this in Puccini’s opera most disfigured by the so-called tradition: a Butterfly in which an almost metaphysical violence (the performance revolves entirely around waiting, where the action is actually its absence) is usually reduced and coarsened into middle-class sentimentalism, and therefore translated, indeed betrayed, with a tea service aesthetic. Not even the “real” Japan, let alone its deepest essence, but just a postcard for the Westerner on a guided tour. A return to colonialism in the form of the white male sex tourist who buys a young girl to have a good time between one stop of his trip and the next. A backdrop against which Puccini’s opera tears into with a wounded and painful lucidity that seems, in retrospect, prophetic. All this suddenly disappeared in front of this abstract and translucid elegance, these ritualised, calculated, calibrated, very slow movements (finally solving the main problem of the opera: the singing, which extends the time of the action considerably). Yet the result did not come across as icy. Instead, it proved far more striking than Puccini’s prêt-à-pleurer approach. I have never quite understood how someone can speak of minimalism in relation to Bob Wilson. Or rather, for the radical suppression of paraphernalia and props and the colour of a “typical” restaurant, perhaps yes; but not for the depth of ideas and emotional power generated. Wilson then talks about his first encounter with Japan. It dates back to a trip in the late 1970s, thanks to a grant from the Rockefeller III Fund, in the company of Susan Sontag, another budding young hope who was also a recipient of the grant. “I was there for one month, and my life changed forever,” Wilson now says. He reels off a list of decisive encounters, because a culture, even a great culture, always walks on the legs of men: Hideo Kanze, descendent of a dynasty of Nō theatre actors; Tamasabura, a Kabuki star; Hiroshi Teshigahara, filmmaker and master of flower arrangements, as well as many others. “I had never before experienced the theatre of Japan, but once I saw it, I realised that it was a confirmation of everything I was doing in my own work,” Wilson recalls. In 1993, when he staged the Butterfly that was to change his life, and indeed not only his, the list saw the addition of choreographer Suzushi Hanayagi, who comes from a centuries-old theatrical lineage, anchored in the tradition of Nō, Kabuki and Bunraku (in a world, the theatre world, where knowledge and authentic traditions are still handed down manually, bringing generations together in workshops with the elders, and indeed not just in Japan). Since then, I have seen many of Wilson’s productions, both drama and opera. I remember a Ring at the Zurich Opernhaus, where that “invisible theatre” seemed to materialise, both enthralling and disturbing, as requested by Wagner who was disappointed by the modesty of the staging and illusionist solutions of his time. Or the Monteverdi at La Scala, especially the courtly celebration and neo-Platonic metaphors of Orpheus transformed into an ancestral ritual, into an Arcadia of exquisite, motionless beauty. But in the end, we always come back there, to that Butterfly which is still in the repertoire of the Opéra, where we have seen it again and again, filling with meaning its apparent stasis, its formal concentration, its iconic tapering. Perhaps this is what the classics are about: to continually rethink the existing by projecting the past into the future. The Butterfly evoked by this Venetian exhibition is a true classic because it can be repeated over and over, and each time it will remain the same and each time it will become something different. As per the wishes of that young amateur who, one evening in 1996 (in Bologna, which is not exactly Los Angeles), was captivated for the first time by the unsettling yet fascinating art of Robert Wilson.

SUSTAINABLE BEAUTY

Francesco Rossetti

The gardens of Venice are hidden, like all its most priceless treasures. In this truly unique and “handmade” city, where the buildings are reflected in the canals in a kaleidoscope of stone and mosaic, the areas of greenery punctuate the urban landscape with rarefied refinement. And among Venice’s gardens, orchards and parks, one of the largest and most important is undoubtedly that which extends over the island of San Giorgio Maggiore, linking the various premises of the Fondazione Giorgio Cini. To mark the “Homo Faber Event”, the part of the park running between the monumental buildings, the Gandini swimming pool and the Cappelle Vaticane, will be turned into a surprising interlude: amidst the centuries-old trees and hedges, between the halls and exhibitions, visitors will be able to pull up a seat, relax and enjoy refreshments as they allow body and mind to unwind after contemplating the curators’ pick of wonders. And given that beauty calls (and indeed demands) beauty, this interlude has also been designed to blend in with the vision of atheistic excellence and sustainability of “Homo Faber”. The menu is entrusted to Genuino, a young and dynamic company from Trieste, which pursues its special culinary mission with integrity: to educate people on wholesome, healthy and simple food through an attentive and effective service, thus transferring to the dinner table the values of craftsmanship that “Homo Faber” cultivates and promotes. The tables, chairs, sofas and furnishings that embellish the park are all created and supplied by EMU. The Umbrian company, renowned for the comfort and elegance of its designs, has stood out for over 70 years thanks to the fertile, lasting dialogue established with the most visionary designers, ranging from Patricia Urquiola to Jean Nouvel, and for its mastery of metalworking. But that’s not all: caring for the territory is essential for EMU, as evidenced by the fact that every stage of its production undergoes strict monitoring, from controlling the materials before they are accepted to checking and testing

during the manufacturing phases. All of which is followed by inspections of the assembled product prior to cataphoresis and painting, up to the validation and compliance of the finished product. The interlude brought to life by EMU and Genuino in the park of the Fondazione Giorgio Cini is much more than a service for visitors of the “Homo Faber Event”: it celebrates all the values of craftsmanship, creativity and contemporariness that “Homo Faber” expresses in a coherent, complete manner. In the case of EMU, sustainability translates into perfect creations that are aesthetically sustainable and built to last. After taking part at the first “Homo Faber Event” in 2018, the Umbrian company is set to return to the island of San Giorgio Maggiore with new collections but with the same passion and a clear mission: to create furnishing solutions that combine design, tradition and technological innovation, bringing the culture of Italian outdoor living to the global market. Crafting unique products whose comfort, durability and respect for the environment exceed customer expectations, thanks to a balanced mix of aesthetic research, functionality, technology and manufacturing skills. A mission that, in the context of “Homo Faber”, is enhanced by the poetic vein afforded by a dialogue with creative and functional craftsmanship. In so doing, it closes the circle of the quest for beauty that gardens, with their mysteries and the professional skill they call for, have always represented.

THE ART OF CRAFTING THE FUTURE

Franco Cologni

The highest expression of beauty and splendour – Venice and its surrounding area – and the supreme manifestation of human talent – fine craftsmanship – are being brought together in Fondazione Giorgio Cini, a truly exceptional location, to mark the second edition of “Homo Faber: Crafting a more human future”. Part exhibition, part event, “Homo Faber” is set to celebrate the work and happiness that come from being able to transform matter into new and extraordinary forms. Work is therefore not just understood as the Latin labor, i.e. hard work and commitment: these elements are undoubtedly present of the life of a master artisan, but they do not convey its meaning in full. The work that “Homo Faber” presents and promotes is more in the sense of opus: a necessary and painstaking task, and a far cry from the dogged labouring of insects that John Ruskin (one of the first advocates of the universality which Venice represents) condemned as dehumanising when applied to human actions. It is work that is nourished by skill and poetry, and which the curators called upon to conceive the 15 exhibitions that make up the event have been able to grasp and enhance as true artisans of taste, gesture and form. A handmade beauty that they narrate as it glides towards the future, evoking a past that has never really disappeared. The presence of Japan’s Living National Treasures is an effective key to understanding the value of craftsmanship in the contemporary world. In their apparent simplicity, the objects crafted by these holders of an intangible heritage of know-how and talent offer an effective antidote to the banality and standardisation that make our present dull. And in the process, it reveals the happiness of “making” in our everyday lives. The cold distance that multiplies the space between ourselves and the objects around us, which in many cases we know nothing about except for their function, is flourishing more than ever before because of our dangerous inability to contemplate beauty and embrace it. To be awed by beauty means allowing talent, creativity and craftsmanship to be reborn every day, which is just what “Homo Faber” invites us to do. With the hope, shared by patron Johann Rupert, with whom I founded the Michelangelo Foundation for Creativity and Craftsmanship, of crafting a more human future: a future made with skill, care and passion. The Fondazione Cologni dei Mestieri d’Arte, the Japan Foundation, the Fondazione Giorgio Cini, the Fondation Bettencourt Schueller and the other partners that the Michelangelo Foundation has involved in “Homo Faber” are investing and committing themselves so that these values, which enchant and inspire us, may always represent not only a symbol of past splendour, but also the wisest (and perhaps most sustainable) direction for an extraordinary future.