For the occasion of NYCxDESIGN the Molteni&C | Dada | UniFor Flagship Store on Madison Avenue, encloses the most latest offering of the Group’s three brands and signifies a lifetime marked by Italian flair, ranging from the intimacy of a private residence directly through to the contemporary settings of the workplace world.
May 2018 saw the inauguration of the new Molteni&C Flagship Store on Madison Avenue: 2 floors and above 1200 sqm, redesigned from the brand’s Creative Director Vincent Van Duysen, to showcase the furniture created by the historic Italian company. Plus a brand new “first”: alongside time-honoured pieces, and equally iconic new goods, it featured artworks by up-and-coming youthful Italian talents. Design, combined with art, creates an aesthetic complete in which languages are enhanced and, together, they give rise to a home environment that is at once an intimate refuge and a social space.
An ideal art collection that boosts the work of the latest generations of Italian artists with a broad and discerning people, offering these youthful talents innovative exhibit and commercial platforms; nevertheless The Collector’s House is also a real collection, which develops with fresh acquisitions at each stage of the job. It’s headed by the Molteni Museum, a creative center setup in 2015 alongside the headquarters of the company in Brianza and winner of the Corporate Art Award 2017.
This undertaking, that reflects a cultured and mindful way of life, today sees a new exhibition in Molteni&C’s New York Flagship Store, in partnership with the young Milanese art gallery Clima, featuring the works of four of the most interesting artists around Italy’s edgiest art landscape: Gianluca Concialdi (1981), Cleo Fariselli (1982), Matteo Nasini (1976) and Valerio Nicolai (1988).
Gianluca Concialdi paints with tempera on each side of large sheets of pounce paper, usually measuring approximately two meters x 2, depicting enigmatic fluctuating shapes that recall items of everyday life, but also emblematic forms, all invariably intriguing because they linger in that dimension dangled involving ordinariness and eyesight.
Cleo Fariselli’s busts of the Gran Papa series appear to draw classical iconography, but the strong and intuitive blind expressions, impressed with the hands of the artist on clay – and afterward cast into ceramic dental plaster-express a very contemporary sense of mutability and precariousness. The same emotive and effect is located in the dual sculpture, similar to a pair of eyes that, by the Flagship Store window, attempts to make eye-contact with the folks passing down Madison Avenue.
In his drills in abstracting the landscape into polychrome constructions, inspired by avant garde languages, Matteo Nasini conducts a just aesthetic research that, nevertheless, by his own admission, is “polluted” by his own musical background:
I realize that when I draw, I am constantly thinking about the sound. For me this element is strictly linked with the colors and with how I develop the lines.
The mix of painting, sculpture and reality created by Valerio Nicolai extends beyond the confines of the frame, frequently not metaphorically, in the poignant attempt to represent the world on a scale of 1:1.
Despite their various languages and intentions, the works of these four artists are all equally capable of creating a kind of sensual friction between their raw energy and the sophisticated slickness of the furniture pieces from Molteni&C that makes this dialogue between art and design particularly meaningful.