After the visionary installation of 2022, with the success of the refined solutions in oxidized metal and unique works, PLANIUM in 2023 has now confirmed a distinct dimension in which Materials are the main interpreters.
Metal was at the center of the set-up for this new edition of dOT (Design Outdoor Taste with the organization of VGCrea), with a scenography for 2023 that has not gone unnoticed, maintaining the affirmation of the previous edition unchanged, as well as the interest of the many visitors in transit.
The rhythm of the arches leads to the entrance of a place open to the public only on a few rare occasions, among which the Milanese Fuorisalone is a part. The "path" indicated by PLANIUM is in fact under the arches of the Great Cloister next to the Church of San Marco, in the heart of Brera in Milan. An exclusive space among the most refined in the neighborhood that drives Ambrosian elegance and history.
From a design point of view, we are talking about a slightly “concealed” exhibition space enclosed by cascades of light gold-colored anodized aluminum chains, created by PLANIUM based on a design by Maurizio Galante and Tal Lancman. These elements have been favored to anticipate the originality and uniqueness, the value of the internal scenario made up of significant works, born of the union of art, design and technology. Furthermore, the luminous and iridescent, eco-sustainable and recyclable metal of the golden fringes refers to the raw material of the furnishings on display.
The collaboration of PLANIUM with other Italian companies has added something extra this year in terms of synergy: the circular surfaces in PLANIUM satin steel have joined the solid wood of tables and coffee tables by NewLife, an Italian company that develops and manufactures contract furniture high-end. From this partnership was born Cosmo, a small table on whose silver top overlooks the charm of the features of the waxing, full and waning moon, obtained from artistic oxidation processes.
From the Cosmo collaboration - From Planium's collaboration with NewLife
All around, the renowned Rubelli fabrics of the seats of the And modular system (design by Alan de la Coba) of NewLife pick up on the tones of the metal tops. Chosen in the round versions, which in turn were celestial bodies, they are covered with the bright colors of copper, steel and brass; in full respect of the concept of reuse, the fabrics are 100% recycled from bottles.
Here the experimentation of PLANIUM draws a living stainless steel, oxidized with electrolytic processes, and obtains cold colors in shades of gray-brown with a strong aesthetic impact.
The transit of the moon and more precisely of the planets is also the protagonist of the Flow creations, in two versions, a table surface and a decorative wall element. The realization was previously already awarded the "Business for Art" prize during the 17th edition 2022/23 of Arte Laguna Prize Venice).
Flow was born from the creativity of Donatella Nobilio; it is a work in close contact with Art, because it makes use of the perfection of the circumferences that refer to the abstract idea of beauty concerning the theoretical lesson of Wasili Kandinsky. In fact, the designer herself declares: “This year, for my paintings, I was inspired by circular shapes, consequently also for this project I was based on the intersections of circles in order to emphasize the chromaticism and the different finishes of the PLANIUM metals.”
In her works she combines the skills acquired during her artistic, professional and research career. She incorporates art, design, illustration and decoration, with a desire to cause awe and emotion.
After graduating in Applied Art you attended the illustration school at the Castello Sforzesco in Milan. She has dedicated herself to illustration and interior design. However, the need to express herself in a different, more free way grew in her, so she deepened decoration and trompe-l'œil. Now she says she has reached the third phase, the essence of her professional and personal journey.
Thus abstractionism met the apparent hardness of the metal: the oxidized steel that follows the pattern of the lunar cartography, the copper, the brass, the brown-colored calamine and oxidized steels are the materials that have contributed to this context " spatial” somewhat mystical and ineffable as a whole. It is no coincidence that this creation involves almost all of the metals that PLANIUM has used to cover surfaces during the year.
The three Shadow Light luminous objects, conceived by Maurizio Galante and Tal Lancman halfway between Design and Haute Couture and obtained with both satin and oxidized brass, have established themselves suspended as a precious dress capable of "dressing the light", recalling the contours of the lanterns, with a material lightness of its own, reinforced by the iridescent tones of the metal.
“The effect created by the light through the various elements inhabits the space with magical shadows.”
And as if emerging from magical shadows, the colors change depending on the treatment. The luminous decorations in satin-finish brass in fact juggle on ranges of blue and above all green, even if the original color of the brass is visible, in filigree, while precisely the non-oxidized luminous object is faithful to the color of this metal that has always been a classic: a discreet, elegant, shiny golden character which is in turn amplified by the sun's rays which indirectly penetrate the display.
Maurizio Galante is one of the most admired Parisian couturiers. Over the past 30 years, his creative talent and body of work have earned him many prestigious awards in Italy, France and beyond. In 2008 he was named 'Chevalier dans l'Ordre des Arts et des Lettres à Paris' by the Ministry of Culture for his contribution to the French fashion industry. He has presented his collections in Paris since 1991 as an official member of the exclusive circle of the Chambre Syndicale de la Haute Couture.
Born in Tel Aviv, Israel, Tal Lancman is a trend forecasting analyst and designer. Since 1995 he has been the creative director of Textile View magazine, the main magazine in the sector which defines guidelines on the subject of colours, textiles, fashion, decoration and marketing. His contribution to the series "Interware" and "The Art of Living" published in Textile View focuses on the transversal approach, underlining the meeting point between different disciplines: design, fashion, architecture and art.
Next to Flow in the table version, we see a work in which the material and its experimentation are the protagonists, as well as the desire to arouse strong emotions: Issiba, a mirrored monolith in oxidized copper, designed by Matteo Tampone from Turin."Imagining, creating, producing emotions" is what is expressed here in the words of its designer.
Matteo Tampone studied graphic arts in Turin, the city where he was born and where he began his professional career in the fields of industrial design and communication. In 2013 with MATstudio he created a single communicative container, where he can evolve and refine that artistic-industrial ability that he has always associated with design.
In the artistic field, with its Percorsi Temporali line, it explores research on oxidation processes, creating unique and commissioned pieces.
The integration between mirror steel and oxidized copper is the absolutely successful combination of opposite metals that manage to meet in the same work without losing their intrinsic characteristics. Valuing each other, they attract and then move away in a succession of waves and ripples.
The title of the work, Issiba, is on the other hand to be read as the reverse of Abissi and, looking closely at the colors of oxidized copper, we get lost here in the chromatic meanings, in the oceanic depths of the seas and lands, in short, in a very evocative that takes us to distant worlds, absent and present.
It is the culmination of the exhibition, the object for which the numerous transit stops to make room for waiting: in Issiba the visitor first slows down and then stops, observes, mirrors himself, sees their own image reflected with superimposed "splinters" of oxidized copper in rounded and mellifluous shapes which are, in reality, real representations of "drops" of that sea that the coppery colors seem to represent.
The color is different from that of luminous objects, because the oxidation of the copper leads to darker shades, which range from light blue to burnished, to Cassel’s Earth, to the more shadowy and autumnal shades of brown. And yet it is precisely the union in space between the nuances of Issiba and the Shadow Light that proves to be a trump card.
To accompany the mirroring monolith, Alisha Bergere of NewLife, distinct and refined, Sumi - Copper, a jacquard with an oriental taste that represents a landscape taken from an original Japanese art drawing Sumi, monochromatic pictorial style, reinterpreted in a textile key, and translates, through a great variety of weaves, the nuances typical of this trend.
A Milan Design Week therefore full of satisfactions for PLANIUM, which has succeeded in the difficult aim of keeping together different realities often united by metal.
The prevalence of the cold and steel-related tones of the entrance was contrasted by a warmer space in the second raised room. Everything is a lively, welcoming and refined whole.
The visit proved to be a very eclectic artistic moment during which the viewer was captivated by the PLANIUM style and design.
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