As forerunner of times and trends, Carlo Mollino has always been “ahead”: in architecture, in art, in design, in the unrestrained passions for sport and photography.
A concentration of Mollino, a skilled artisan and a man fond of polytechnical rigour, a real outsider, has been arranged at the Zanotta showroom in Milan during the first month of Expo, in cooperation with the events “Design meets food-Milano meets the world” organized by the magazine Interni. “Homage to Carlo Mollino”, a small yet precious exhibition and a lively “conversation about creativity” with the design critic Manolo De Giorgi and the chef Gianluca Fusto. All around them, Mollino’s works and images embracing special moments with his acrobatic shapes and visions. “Zanotta has always paid great care in the most meaningful design contents” Eleonora Zanotta affirms, who manages the business art-direction of both product and brand together with her sister Francesca. “Thanks to my father Aurelio’s curiosity, courage and intuition, who was able to rediscover exceptional projects that risked to be forgotten, our company took interest in this great master’s experiments, including the objects designed by this genius in its eclectic catalogue, since the early Eighties when just a few people knew Carlo Mollino”. On show and all to be admired in the Zanotta shop in Milan, we are welcomed by: the mirror Milo (design 1937), with the Venus’s silhouette replied on the wall as invitation; the table Reale (1946) with the elegant oak shape, inspired by aviation, and the glass top with beveled edges; the armchair Gilda (1954) in fabric Teatro, the shade water-blue, with the curved lines of the armrests and the unmistakable hardware in bronzed brass; the small table Arabesco (1949) with its organic and winding design; the desk Cavour (1949) timeless and dynamic, a classical piece of the 20th century. Pieces that Mollino “ inventor of special items that were not there before, always light-years away from all that design history was slowly accepting: domestic appearances like mirrors whose profiles remind classical art…..chairs, armchairs and night tables as bone sculptures tickling moving bodies; and tables that are still constructional records and a large concentration of knowledge” Beppe Finessi says. And echoed by Manolo De Giorgio who explains, alternating references with Fusto, the chef of “sweet design” who enumerates sizes and geometric shapes, real secret of his food design. “All the work of Mollino is an exaltation of mathematical precision, as well as of the organic vision, a mixture that still shakes our time. Think about his colors that from nature take the final stages of mutation, mustard yellow and lizard green; the layering of bent materials drawing tops and frames, the Alpine architectures standing out in the sky”. Once more Zanotta, that since decades is convinced of Mollino’s topicality, wanted to dedicate a 360° tribute with this event to keep on spreading culture and passion.