![]() (Col Sporcar si Trova: Le arti di Giambattista Piranesi) Proyecto A Contamination of Taste: The Arts of Giambattista Piranesi There are many levels of mediation and many transformations that enter the equation the fact that we are making the object using a range of technologies that did not exist in the eighteenth century simply adds a new dimension.Reproducción de facsímil a partir de un dibujo de PiranesiĮmpresa FACTUM-ARTE. When making an object from a design done more than two centuries ago the issues are essentially the same as if the design was done last week. This image is the fulcrum with the tripod from antiquity on one side and the contemporary realisation on the other. My only experience of this object, reputedly found in Pompeii, is through an image etched by Piranesi. It addresses something fundamental about making, and the complex and messy language of things. Looking at the finished silver-patinated bronze Isis tripod in Madrid is a viscerally strange experience. The greatness of this pre-modern figure lies in his ability to read objects, to move beyond issues of national or cultural identity, beyond the “tyranny of theory”, in order to fuse a wealth of influences that made Rome the extraordinarily fertile place it was, both in antiquity and inside Piranesi’s mind. His forensic approach to objects as a reliable source of information has had a profound influence on subsequent generations of artists, architects, designers, decorators and film-makers. The resulting objects celebrate his prolific creative energy as an architect/designer. ![]() In these designs after the antique it was common practice for Piranesi to use his connoisseurship to reconstruct complete objects from fragments. The other objects are from Vasi, candelabri, cippi (Rome, 1778): a tripod based closely on the antique, an altar based on fragments found in the Villa Adriana, a candelabrum and a giant vase. ![]() Four objects were chosen from Diverse Maniere (Rome, 1769), Piranesi’s catalogue of designs for fireplaces, furniture and objects published in three languages to ensure it reached the widest possible audience a chair, a coffee pot, a tripod and a chimney-piece with its fire grate. 2 The selection focuses equally on Piranesi’s designs and his re-interpretations of the antique. The starting point in the selection was De Lucchi’s conviction that Piranesi “should probably have been born 300 years later”, since “he would make full use of the huge potential offered by modern technology”. These objects, made by Factum Arte, were selected to show the full range of Piranesi’s genius as a designer. They are not copies of existing artefacts but interpretations of his designs performed for the first time. The eight objects made from his designs celebrate the importance of treating our cultural heritage as a living and dynamic source book. Architetto, incisore, antiquario, vedutista, designer”, shown originally in 2010 at the Fondazione Giorgio Cini 1 and in 2012 at the Fundación ”la Caixa”, was suggested by Michele De Lucchi but inspired by Piranesi’s approach. The creation of a group of objects for the exhibition “Le Arti di Piranesi. His way of engaging with things was anachronic and the knowledge he derived from physical objects informed his thoughts on antiquity, the Renaissance and the Rome he inhabited. In thousands of images and throughout his controversial texts, he asserted the importance of looking in depth into the complex and revealing biographies of cultural artefacts. In the eighteenth century Piranesi resisted this emerging tendency. It has taken several centuries of museum culture to turn rich and varied “subjects” into discrete “objects” located in a specific time and attributed to a specific hand. At the time there was nothing unusual about this. This Venetian landmark was built from Palladio’s designs but not completed until 1610, 30 years after his death. During this time many subtle design issues were resolved as the details were formed, discussed and refined 180 181 As you arrive on San Giorgio Maggiore you are confronted by Palladio’s beautiful and majestic church of San Giorgio. An atemporal approach to Piranesi and his designs Adam Lowe The Grotto Chair was modeled by hand by Juan Carlos Andrés Arias over a period of one year.
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