do ut do is a container of initiatives promoted by the Associazione Amici della Fondazione Hospice Seràgnoli, with the aim of raising funds for Fondazione Hospice Seràgnoli Onlus.
Biyearly do ut do proposes events dedicated to art, music, fashion, design, culinary art, involving institutions, companies, collectors.
In the video, scientific images from an ophthalmic institution alternate with hauntingly beautiful poetic and evocative images, a series of lyrical visions of nature and close-ups of children and women. The images are those of the eye as a sight organ, but also as a vehicle of emotion and memories, as a threshold that conveys the emotions from the outside to the inside. And then there are symbolic images of hands that touch, that are intertwined, that caress water. It is a work about memory and memory interwoven, on the one hand, with a poetic investigation into the permanence of images in the memory and, on the other hand, a scientific analysis of the perception of images.
In fact, the artists conducted their research in scientific areas, drawing inspiration from an ophthalmological examination: the retinal fluorescein angiography, and from this we learn that the eye is a living organ constantly receiving images and being stimulated by them, even if in that precise moment, attention and awareness of the subject are absent.
This striking information inspired the idea of creating a dialogue between suffering and the emotion of beauty, hope and memories. Thus the desire to present images intended as visual stimuli was born, as vital impulses beyond thought.
Model of a fully automatic office chair, ergonomically designed with a wide range of features.
This example aims more for aesthetic quality than the expressive values of its particularly advanced technology, achieving a "soft tech" result. The upholstery is removable and can be customized with different solutions. The automatic forward tilting mechanism helps blood circulation in the lower limbs, while the column of the high backrest enhances back support.
The series production of this model won the Compasso d'Oro Award in 1991.
The bracelet is in silver but its shape resembles something sartorial and, like most garments, it has two colours: silver on the outside, enamelled acid yellow on the inside. Depending on the angle of the flare one wishes to show, it can be worn in a number of ways and, when not being worn, it transforms into a truly decorative piece of furnishing if resting on a flat surface, and can act as a table or furniture ornament, a vase.
The size, the elaborate form and shiny material give it the dignity of a design object.
This sculpture-chandelier is made of a series of joined tri-dimensional elements with low lighting. These shapes, produced on rough "ghinea" 100 % cotton canvas, recall a symbology which is now part of Balzano’s artistic production. Such canvas rolls, found in an old storage area made by "Cotonificio Veneziano" in the 40's-50's, were meant to become pillow cases and sheets. This work is a part of a never-ending search for balance between rationality and instinct, religion and folk beliefs, being and appearance, life and death.
Elegance and function are inextricably linked to form a sculpture of intersecting structures, creating a bridge, a command post, representing the solid, dynamic essence of human action. This action becomes, day after day, without hesitation or second thoughts, the certainty of having reached a clear milestone along the journey of life. “Mast” is the union of precious materials, technical solutions and far-reaching aspirations, the presidential furniture with its spatial elements and stunning suspended sections shows that any dream is possible.
The gift is part of a collection of thirteen terracotta vases, moulded to form an allusion to trees. The objects are presented as table architectures, and they demonstrate the size and the scope of the gestures and of the hands that crafted them. They are matt black enamel vases and the sections of their trunks are in terracotta colour. The presence of flowers with their distinctive shapes and colours contrasts with the plain geometry of these primary forms. “Vase 13” is signed on the bottom “Mario Botta P.A.”
It alludes to a non-symmetric solid. We can also find this in the 20th century avant-garde as a "dynamic motion of the masses." Asymmetry appears here as a "moment of progression towards a fulfillment that will take place in the finding of symmetry - Gratia perficit naturam - ". The creature, just like the work, is pure nothingness.
First designed in 1937 by the creativity of Jac Jacobsen, the lamp "JJ" is one of the most famous icons of design in the world. Leucos proposes the archetype, revisiting the original solely proportions.
A rigorous design, clean lines and the choice of a material such as aluminum are the main features that have made this lamp a timeless, yet contemporary today.
"A delicate work involving white, gray and silver painting on a white lamp. Small geometric light presences that do not upset the form but rather enhance the content. Joyous creations born on the object like crystals on the walls of a cave”. M. Jori
“Mappamondo 6” is part of a series of works commissioned to the artist by Franco and Roberta Calarota for an important show at the Museo Internazionale delle Ceramiche in Faenza in 2011. In this series Chia gives birth to new experimentations with the matter. The artist creats a poetic continuum where the sign is transferred from the canvas to the ceramic surface, to the clay, embraces its secrets and reflects its fragility in an intriguing dialogue between two clearly distinct languages: bronze
Cementofono is an outdoor diffuser that allows creating a unique sound ambience. Activated either by voice or through a technological device, it amplifies sound waves which create a striking atmosphere redefining the boundaries of the surrounding space.
Two pieces were specifically made for the ""Do ut Do"" event: one in white to reproduce the natural colour of the basic i.design Effix material and the other one in orange gold. A soundscape has been created for the project, composed of two complementary files that users can download through QR codes.
Forex cabinet painted in acrylics.
"Can a piece of furniture be generous, forward-looking, cordial, selfless, nice, and “radiant”?
And also a little angry at times.
It would be wonderful if, with its colours, it were always surrounded by beautiful things, by noble feelings, hopes founded on a lake of understanding, listening to others, compassion.”
From 2004 De Lucchi sculptures little wooden houses with the chain saw to create the essentiality of the architecture.
"(…) I moved from the lightness and quietness of the pencil to the roughness and din of the power saw, but without sacrificing my effort to treat the wood tenderly. These are solid little houses, found inside dead tree trunks knocked down by the wind. They were delicately worked with the power saw, and then trimmed by successive stages, modeling the surface with “brush-strokes” applied by the blade."
Michele De Lucchi, 2005
In 2009, he took part in “Acrobatic stunts”, a project of the Atelier “Adriano e Michele” within the San Colombano Fatebenefratelli Centre in Lambro where Favelli got to know the patients with mental health problems. Later, visiting the Alessi company, he became aware of a crate of “Juicy Salif” citrus squeezers missing a foot. They were the broken ones that would have gone to the foundry. He associated the condition of the objects to that of “his crazies”, the people he was working with, but also to all the times that he felt something was missing.
The Fender Stratocaster is one of the most important and famous guitars designed by Fender, and this example is part of a limited run of "Custom" guitars, made by some of the most famous and celebrated luthiers from the "Fender Custom Shop" based in Corona, CA.. The guitar has been hand painted by the graffiti artist John Crash from New York, which hand painted 50 guitars under request of Eric Clapton and Fender.
These two unique items are part of “The Pop Will Eat Himself”, Massimo Giacon’s limited-edition collection of large-scale ceramic sculptures. This collection is sold worldwide, including at the Beaubourg Museum of Modern Art, Paris. It has also been displayed at the Milan Triennial and in Moscow. These bizarre pop sculptures have no specific purpose. These generally depict cartoon characters, whose pop nature is played down by disturbing elements veering towards a more international underground iconography.
The "Elephant” sculpture, is part of the collection “Animalove”, is a laser-cut metal figure, folded and molded. It is a project of reverse self production. The designer has reclaimed a serial-produced object designed by herself, and, through an additional step for its characterization and differentiation, through a return, she traced it to its original dimension of "matrix - one piece". In this case, the interest of Alessi was in the production of an object without a purely "functional" function: the nature of its identity is essentially ethical-aesthetic-poetic, with a deep re-connective character, and not "functionally" linked to the world of commodities. All of the colored steel objects are part of her focused research on the animal iconography through the years.
“The gods show themselves all over the earth in the form of animals. Therefore the animal is also an imago dei (image of god), a face of our eternal nature. It could also be that, in recognizing the animal of man, we perceive rudiments of divinities, archetypal modes of consciousness, essential modes: leonine, porcine, hawk-like, rat-like; essential natures present in the psyche".
“The Wedge” by Daniel Libeskind, a sculpture designed for the do ut do exhibition, is a representation of the metaphysics of space. It poses the question: is space tangible if infinite, or a finite dream? Through the disjuncture between positive and negative spaces, The Wedge is an homage to the tradition of Italian sculpture which challenges the weight and solidity of marble with the malleability of pure Form.
The work is a “wall lamp” picture. The artist very much liked the idea of mixing the world of art with the world of design. The picture “Beginning” contains cells, one of her favourite themes. Cells, which she loves and considers quite beautiful, inspire her, as do all organic forms. The work represents the beginning of life, humanity and the light behind the white square indicates hope.
Thready figure, suspended, evanescent and evocative "The Bride" has been made using poor materials, such as canvas, and other ones very precious, such as lace, embroideries, jacquard, matching them together thanks to inlays and notches in order to show and express the dichotomy which is the main part of each of us.
Thanks to the play of light and shadow, created by putting a light inside, The Bride changes the sense of space and of itself, which becomes impossible and sinister garment or a figure of rare beauty and sensuality, depending on who looks at it.
It is a luminous wheel consisting of two elements made of white methacrylate opal fixed to a central joint made of metal, a zig zag of light, two central shimmering disks where colours follow the itinerary of those who look at them. It is produced in five examples and shown during the Exhibition “Ruote d’artista”, (“Artist’s Wheels [n.d.t.]) organized simultaneously with the World Cycling Cup Toscana 2013, which took place at Lucca from the 5th to the 30th September 2013.
“I have been producing collage for nearly fifty five years, many of the early one’s were done during long flights or in the waiting areas at airports. Despite their inherent uniqueness – layered compositions of “found” papers, shapes and colors – these colleges are very much of a piece with my architecture. As a presentation drawing is no substitute for the physical experience of architecture, the visual power of the collages derives from the suggestion of the “space” that we do not see: small fragments of letters and pictures with their own histories, former uses and meanings. And, as my architecture is activated by color and light collected on the surfaces of white panels, the silent dynamic of each collage is focused within a standard square frame. It is difficult to view the collages without imagining the architectural grid, portioned and worked over by time, the hand and chance”.
RM – New York, 11 September 2013
“I began by sculpting a cypress tree from an abandoned piece of timber. It was nearly pocket size in scale. I do not recall why this particular tree fascinated me; perhaps it was its elegance and its majesty, or perhaps its solitude. Few months later, several more small cypress trees came together.
The choice of producing a much larger scale version fascinated me because its seriousness hides the warmth of the place where it grows. I first cut numerous equal length strips of timber and then began the composition with the aid of a support. It was soon apparent that I no longer was able to control its development and its vibrant form”.
Elements of the work ‘Towards the light, the green'. This abstract and flowing composition consists of twenty elements, in which the colour fades towards the light following the luminance. The cold tone of the green becomes warm with the use of brass and light. The expanse of space opens to reflection in which doors, windows, vents, and holes break through the material transforming the colour into an immense fresco on the alternation of light and thoughts. The work is the new story of the way we see and feel through the light of the master of the dark.
“Quadricromia” is a two-dimensional element that adapts to the three-dimensional nature of environments.
With respect to people, it works on three senses to improve perception of the environment. It has excellent sound absorption capacities and therefore has a positive effect on the comfort of the space. It also has tactile qualities that can be appreciated in different ways in the variety of its uses. Furthermore, it also has fractal qualities. Its appearance has been created randomly, using an irregular structural web or net combined with inhomogeneous materials to generate a variety of perceptions in which beauty is imprecision.
The tables have stems and branches made of solid beech, again the pair of hands is in solid wood, but one is in beech and another in oak, and due to the open pores of the wood, the wood grain is revealed after the wood is painted black.
The arms and hands were grafted by hand using artisan techniques, to create the effect of the "branch that comes out of the tree trunk."
“Filmy or ground, two-dimensional or abraded, the surface of art always marks a threshold with respect to life, the metaphysical stopping point of an investigation that doesn't require answers, but rather a deambulation of the mind through different points put into focus by the image. Luca Pancrazzi presents us with the possibility of exploring the Elysian Fields of creation and of getting closer to the nature of art, but always with the awareness that looking doesn't mean possessing the tree, but only its bark”.
Achille Bonito Oliva, 2001
"Pagoda Table" is a project that developed accidentally from the observation of the relationship between wood and the environment.
The table is a sort of photograph of several months spent working outdoors with a worktable that, over the course of a full year, was exposed to rain, humidity, hail, snow, and finally, the summer heat and sun. After a year of exposure to the weather we removed the prototype from exposure to weather conditions, rebuilding it in the same measurements as the original table, and above all with the same form that the these natural elements had created in their interactions.
This piece was created for the performance “Sculpture for Fire” held at the international event, “Convergenze Pollenzo, Art, Philosophy, Food”. This piece was one of the “pans” used to prepare foods during the performance portrayed in the enclosed video which shows all of the stages of the preparation and cooking. The placement of the pan on the embers and on its base recalls the fact that the piece was created for this event, but also evokes the natural dignity of the animal sacrificed for cooking.
This is a chair whose concept is a single sheet of material: shaped like a modern origami, it achieves harmony of form, folded back upon itself to identify the legs and the structure. The plastic movement of the flat surface stresses on the one hand the clarity of the approach to its composition and, on the other, the care lavished on executing the finished product. Made of high-density polyurethane, the chair is available in monochrome or in a two-tone version (inside and outside) that highlights the fold in the surface at the point where the backrest meets the rear legs.
Bowls/vases with top in chestnut wood turned from solid wood. Forms as exaggerated and stylized silhouettes of nuts, acorns and chestnuts. A tribute to the woods, to our autumns, to those childhood memories made of smoke and winter chestnuts. Chestnuts split in baking as well as these bowls, made of solid wood, move and crack, becomes relics and memories alive.
Nearly of primitive and archetypal sculptures and at the same time exclusive pieces of design.
A fine cut seems to divide in two this bowl of solid walnut with a pulverised bronze finish, at the same time allowing it to contain dry objects inside. The crevice reminds us of the gesture of a knife, halving a watermelon; the thickness is therefore kept to a minimum. Metaphorically, it is like our desire to be cut free from a world of constant fluidity; or better still, from a fluid culture.
The choice of a spherical form, maternal and timeless, gives the bowl its simplicity. But the shape is not to be taken for granted, or considered trivial or predictable. Rather, the cut makes it extremely elegant, stimulating our visual sensibilities, even when we see it as an empty form.
This ceramic piece was designed by Ettore Sottsass in 1985 for the Tendentse collection. “Many years ago I happened to lay my hands on a big book with photographs of Aztec pottery. The colours of the pottery were pale, very dull and dusty as if the Aztecs had used coloured powders in place of vitreous enamels for their pottery. That idea of objects that were so soft, so fragile, so temporary that they 'appeared' in places rather than 'existing' in places, intrigued me a lot."
Casting mould made of tempered steel (the attachments and fixed pieces) and stainless PKR2 steel (moving parts, dies), forged and annealed. Mechanical processing followed by a heat treatment (vacuum quenching and cooled in a bath of salt). The "Juicy Salif" squeezer will be produced in three production runs, with nine pieces created to date. Inside the anchor plates, a system of liquid cooling channels maintains a constant temperature (approximately 380 degrees).
A hand that wants to share Unity through the mixing of Nations, bypassing boundaries for a New Earth and a New Unity. “One Earth, one humanity. I do not see why there should be so many marks on maps. (...) They do not exist on the Earth or in the sky. They were invented by men. (...) As long as humanity is one, nations will disappear, those lines will disappear. The world belongs to us: one humanity, one Earth, and we can turn it into a paradise.”
Osho Rajneesh, on human rights.
CENTRO STILE LEUCOS / MARCELLO JORI
PAINÉ CUADRELLI E FRANCESCA RHO
MICHELE DE LUCCHI
LEO FENDER / JOHN “CRASH” MATOS
DORIANA E MASSIMILIANO FUKSAS
MARIA CRISTINA HAMEL
MASSIMO IOSA GHINI