Monday - Thursday 10:30 - 20:00. Saturday - Sunday 10:30 - 20:00

Feeling good. Caimi design for the future

ADI Design Museum – Compasso d'Oro presents a cultural project dedicated to the brand Caimi, which, 75 years after its foundation, reflects on its working method, updates it, and proposes it as a development model for the near future. "Feeling Good. Caimi design for the future" is a non-celebratory exhibition, a narrative focus on a working method that is the true DNA of the company. It aspires to draw a taut line, not looking to the past but sketching a new path to continue contributing to the Made in Italy design system. Curated by Aldo Colonetti, philosopher, historian, and theorist of art and design, along with the architect and researcher Valentina Fisichella, the exhibition offers visitors an articulated journey in synesthetic environments that house objects, historical videos, artworks, products, documents, and drawings. Architect Matteo Vercelloni’s exhibition design, which gives multiple dimensions and forms to the exhibition experience, along with the multimedia and live performances of the Ex Anima collective, enrich the visit with meanings and levels of interpretation; restoring the contamination between industrial design and art, the synergistic relationship between science and design, and Caimi's signature design reformism. Since its inception, the company has consistently operated within a reformist project, reflecting non-ideological or revolutionary perspectives on the major themes of our contemporary world. Beyond products and documents, the project is, in fact, a story of ideas illustrated not only in the exhibition but also in a book and a podcast dedicated to the themes and actors of the brand's history: entrepreneurs, designers, researchers, artists, and communicators. Through the interventions of the curators and protagonists, in a format reminiscent of an essay, the book inserts the evolution of the brand and its family history, successfully conducted for three generations, within the framework of seventy-five years of design culture and social life in Italy.
ADI Design Museum location
Monday - Thursday 10:30 - 20:00. Saturday - Sunday 10:30 - 20:00

ORIGIN OF SIMPLICITY. 20 visions of japanese design

The essentiality of forms, the extreme attention to details, the originality of each piece, all within the continuity of tradition, combined today with technological and engineering research that develops new materials and recycles waste materials, are characteristics that make Japanese design an international icon. The exhibition "ORIGIN of SIMPLICITY. 20 Visions of Japanese Design" offers a cross-cutting perspective between design and craftsmanship to understand the origins of the concept of simplicity, which can be interpreted as emptiness (ku), space or silence (ma), sometimes read as poverty (wabi), and consumption related to use over time (sabi), as well as asymmetry, indefiniteness, and imperfection. These concepts have roots in various philosophical thoughts belonging to this culture, from Zen Buddhism to Shinto animist thinking, which are almost opposed to Western rationality. An unprecedented research conceived by the curator Rossella Menegazzo, an expert in art history and Japanese culture at the University of Milan, with the graphic and exhibition design by the Japanese designer and curator Kenya Hara, who envisioned the exhibition path as a forest to walk through. Each tree groups together works that express the same quality, presenting unique combinations of works by different designers and artisans, through which the theme of simplicity is explored by assigning keywords that aid understanding. The exhibition features over 150 works, many never presented in Italy before, designed by the most representative names in modern and contemporary design, shaping the history of Japanese design from the Sixties of the twentieth century, as well as representatives of the latest generations, less known to the international public. All selected objects emphasize craftsmanship, which traditionally combines techniques, materials, and forms passed down from generation to generation through workshops, historical laboratories, and masters considered "living national treasures" in intangible heritage. A centuries-old wisdom reveals a preference for natural materials such as wood, paper, metal, ceramic, and textile, and a sensitivity to the characteristics of each, blurring the distinction between a design or art product.
ADI Design Museum location
Tuesday - Saturday 10:00 - 13:00 and 14:00 - 19:00

She, the cat’s mother

Galerie Gregor Staiger is pleased to present “She, the cat’s mother”, Lucy Stein’s second solo exhibition at the Milan gallery space. It will feature a new body of paintings and tile works, conceived specifically with the gallery in mind. Drawing from Celtic studies, European mythologies and feminist theory, each piece offers a glimpse into a world where ancient wisdom and contemporary discourse intersect. “She, the cat's mother”, an old English expression invoking a dialectic between the universal and the particular, serves as a guiding thread, reminding us to question any suggestion of a universal female experience. As the viewer approach the works, the interplay between the seen and the unseen, the known and the mysterious, the conscious and the unconscious become progressively clearer. Carl Jung’s inquiry on primitive myths and the modern man - displayed in the essay “Man and His Symbols” from 1964 - provides the backdrop for Stein’s work, which seeks to bring to the surface a subterranean psychic world. Talismanic elements such as eyes, moons, birds, and ancient iconography are recurrent in the exhibition. Within this realm of symbols, the artist also pays homage to the ancient Goddess culture of Cornwall, invoking the wild spirit and natural landscapes of the region, with local minerals used as glazes. Themes of transformation and primal instinct resonate with archetypal figures and folkloric narratives. Shame, for instance, features a pubescent medieval princess grappling with intrusive thoughts represented by a monstrous duckling emerging from her hair (body) / head (mind). This evocative imagery prompts reflection on the complexities of femininity, echoing the artist's investigations into female rage. Water emerges as a powerful metaphor for the unconscious mind, as seen in Brigid, where melted sea glass suggests the dilations of the all-seeing female eye.
Galerie Gregor Staiger location
Monday - Tuesday 15:00 - 18:00

How Class Kills (The Mental Hospital Condition Photographed by Carla Cerati and Gianni Berengo Gardin)

March 11th will mark the centenary of the birth of Franco Basaglia, the inspiration for law 180 of 1978, known as the Basaglia Law, which provided for the progressive abolition of mental asylums in Italy. The mental institution, before Franco Basaglia and the anti-institutional psychiatric movement, was a place of segregation and coercion, a forced asylum for the poor, the outcasts, the marginalized, a brutalizing prison in which the sick were dehumanized and reduced in contention, deprived of rights and excluded from society, without a perspective of recovery and social reintegration. In 1969 Dying of class was released in bookstores: a photographic book edited by Franco Basaglia and Franca Ongaro, with photographs by Gianni Berengo Gardin and Carla Cerati, which unequivocally showed the world, thanks to the vivid crudeness of the images, what the condition of the mentally ill people inside mental hospitals, becoming a symbolic book that marked a fundamental stage in the process of liberation and dismantling of the mental hospital institution. For many years, Dying Class was unavailable in bookstores. Precisely this year, the Assayer has chosen to bring it back to light, in its integrity, respecting the original intentions of the curators and the intrinsically political nature of this project, because - we believe - mental illness is today as yesterday an expression of social injustice and of the inequalities that it produces: Basaglia's ideas, within the distortions of our society, now more than ever, are becoming a new utopia.
Laboratorio Formentini location
Tuesday - Sunday 09:00 - 18:00

BRUT Milano

The exhibited works narrate a creative dimension that no longer wants to tell the world, but in the Heraclitean way "making the world." To deal with "irregular" art is to climb over the fences of what is the territory of conventional art, with its rules, with its creative dynamics, with its paths and stages consolidated in centuries of history of patronage and taste. One thus lands in that territory unplowed by official culture, full of unusual, absurd,free flowers. The creative act of the outsider belongs to another dimension. There is something of ritual in their operation, awe moves their gestures. The audience is offered the opportunity to move within these very personal worlds belonging to the participants, who for three years now, have been working in the Milan atelier of BRUT A cura di Fondazione Giacomo Brodolini.In this exhibition the inner worlds of the artists, characterized by a cognitive disability-neurodiversity, are narrated without filters. The 9 participants of the Milanese Atelier BRUT tell their story, revealing in their psychic spontaneity the original essence of their being. Stefano Gironi - 08.12.1989 “Kilometri di Arte” Fabio Moroni - 27.01.1960 “Forme e visioni dall’assoluto” Ivonne Jessica Cabrera - 27.06.2000 “Lady Watercolor” Gaetano Cervasio - 22.12.1998 “Esplosioni di colore” Sveva Landi - 30.11.2989 “ oltre il minamalismo” Eugenia Venturini - 03.08.1998 “Rainbow power” Martina Galipò - 04.03.1998 “Concept ART” Luca Verzino - 21.05.2002 “Grafite hb specialist” Francesca Zita Rosaria Burana - 07.10.1962 “Architetture in movimento”
Milano Luiss Hub location
Monday - Saturday 11:00 - 18:00

Brand New Love

Peres Projects is pleased to present Brand New Love, an exhibition of new paintings by Daniele Toneatti (Venice, 1989), which marks the artist's debut with the gallery and his first solo exhibition in Italy. Blurring boundaries is central to Daniele Toneatti's artistic practice. In Brand New Love figuration dissolves into abstraction and technical virtuosity coexists with intuitive and visceral languages. The oil paintings, reminiscent of crude charcoal sketches, stand in a state of permanent incompleteness, alongside other completed and subsequently reworked works. The very process of creating paintings is atomized, with each of its constituents receiving equal attention and importance. Like the pieces of a puzzle, drawing, color and subject are reworked in myriad combinations, while the artist's studio seems to infiltrate the exhibition space. Influenced by postmodern approaches and theories, for which interpretation transcends creation, Toneatti cultivates a singular practice of appropriation. The artist collects found images, ranging from archival photographs to art historical references, and paints them by remixing and sampling them into a complex body of work. In just before they split (2023), Toneatti paints a photograph of a framed painting by Jean-Honoré Fragonard. In his interpretation of the French Rococo painter's composition, blurred and rough brushstrokes emphasize the transitory and sensual nature of the embrace, obscuring the identification of the source image. In Classic Impression (2023), however, Toneatti recreates a photograph of an overweight boy sitting on the beach through a romantic lens. Here, his delicate brushstrokes and pastel color imbue the image with a tenderness and charm reminiscent of the work of post-impressionist painter Pierre Bonnard. In doing so, Toneatti engages with a line of artists who imagine a renewed way of making art by reformulating, restaging and reinterpreting existing images to produce new contexts and meanings. “Underneath a picture there is always another picture,” wrote Douglas Crimp in October in the spring of 1979, reflecting on the Pictures exhibition he curated two years earlier, introducing a new generation of artists later known as the Pictures Generation – a recurring source of interest to Toneatti. Just as the Pictures Generation recognized or reacted to the growing influence of mass media in shaping culture, Toneatti's practice resonates with current patterns of visual consumption in today's image economy. His body of work engages with the ubiquity of images in contemporary life, emphasizing their circulation across the current porous borders and hierarchies that once gave structure to cultural ecosystems. A permeability also evident in the formal diversity of the work itself. Brand New Love also illustrates the infinite stylistic variety of Toneatti's practice and the fluidity with which he moves from one pictorial language to another. As well as a reflection on our current image-driven society, Toneatti's work is a personal and passionate dialogue with the history of art. Each work captures an encounter with an image, translated onto the canvas through different pictorial approaches, free from pre-established formulas or solutions. The artist, who treats each painting like a page in a diary, excavates and records the images that remain in his memory, similar to retinal persistences, sometimes burying them under new layers of images. Works such as Don’t Look Now (2023) and Romantic Painting (2023) present a dense palimpsest-like surface, layered with a multitude of intertwining motifs that simultaneously erase and complete; in other works, such as flight of ideas (2023) and hard truths (2023), the canvas acts as a sketchbook, where the same motif is repeated and revised several times. In Toneatti's work, process and product have the same importance. His emphasis on the fragmented and unfinished harks back to Raphael Rubinstein's concept of "provisional painting", described in an article of the same name published in Art in America in 2009: works that seem "random, rushed, tentative, incomplete, self-nullifying". Embracing doubt and uncertainty rather than monumentality and permanence, Toneatti takes a humble approach. This is particularly evident in Venetian Red (2023), a painting derived from a photo of a photo of Cindy Sherman, taken during a retrospective of the American artist's work. The expanses of red hues that dominate much of the canvas are actually Toneatti's fingers partially but deliberately obscuring the camera lens. This image, captured furtively, holds a moment of devotion and shyness. In the exhibition space, the paintings are arranged in groups, encouraging free associations of images and ideas. Invisible links connect the works, forming mysterious constellations as the artist reveals his journey through visual culture and art history. While Toneatti's images exude a sense of déjà vu, many of the references he draws from remain elusive. This feeling of uncertainty releases the images from their limits, allowing the viewer to connect the works with his own mental image archive. Through processes of selection, assimilation, reformulation, Toneatti interrupts the flow of images that overwhelms us every day - Brand New Love embodies a renewed and even romantic way of absorbing images, inviting us to reflect on our personal iconographic pantheon. Brand New Love is Daniele Toneatti's first solo show with the Peres Projects gallery. Toneatti debuted with a solo exhibition at Open Forum in Berlin in 2023: entitled Das Ding, the exhibition explored the nihilism of images, questioning the flattening of culture and our aesthetic experiences.
Peres Projects location
Wednesday - Friday 14:00 - 19:30. Saturday 10:00 - 13:00 and 14:00 - 19:30


Born in Paramaribo, Suriname, in 1935, and based in Amsterdam, Stanley Brouwn was a conceptual artist known for his minimalist and thought-provoking works that often challenged traditional notions of art and perception. Brouwn's artistic practice was deeply rooted in exploring the relationship between space, measurement, and human interaction. One of Brouwn's most famous series is his "This Way Brouwn" project, which began in the late 1960s. In this ongoing endeavor, Brouwn would approach people on the street and ask them to provide directions from one location to another. He would then document their responses, often in the form of handwritten notes or maps, without any additional commentary or interpretation. Through this process, Brouwn sought to investigate the subjective nature of spatial perception and the influence of individual experience on how we navigate and understand the world around us. Another significant aspect of Brouwn's practice was his interest in the concept of measurement. He frequently explored ideas related to distance, scale, and proportion, often using simple materials such as wood, paper, cardboard, and string to create his works. In doing so, he questioned the standardized systems of measurement that govern our understanding of space and encouraged viewers to reconsider their own perceptions of distance and size. Stanley Brouwn’s "Measurements" works delve into the intricacies of quantification and human interaction with space. Through this series, he invites participants to provide their own measurements of objects and distances, challenging traditional notions of accuracy and objectivity. By ceding control to others, Brouwn highlights the subjective nature of measurement and the influence of personal perspective. His minimalist approach prompts viewers to reconsider their relationship to quantification, emphasizing the role of individual experience in shaping our understanding of the world. Brouwn's work also engaged with broader philosophical and existential themes, such as the nature of existence and the relationship between the individual and the collective. By inviting participation from others and emphasizing the role of human interaction in the creation and interpretation of art, he challenged the conventional idea of the artist as a solitary genius and instead emphasized the collaborative nature of creative expression. Throughout his career, Brouwn remained committed to exploring the fundamental aspects of human experience through his art, often using simple gestures and materials to provoke profound questions about perception, space, and the nature of reality. His work continues to influence contemporary artists and thinkers, serving as a reminder of the power of art to challenge assumptions, provoke thought, and expand our understanding of the world.
Settantaventidue location
Thursday - Sunday 11:00 - 19:00

Komorebi a Milano

Finesettimana.Milano opens to the public for events related to art and design only on weekends, from Thursday evening to Sunday, to highlight the dual nature of the space intended as a place of fusion between different art forms. Thomas Zangaro Studio is an interior and exhibition design studio located between the emerging and innovative district of Scalo Romana and the Bocconi area. The studio, of the young designer under 35, deals with interior design and installations and has collaborated to important events related to fashion and design. The new headquarters is a 200 m2 open space, whose reinforced concrete skeleton with brutalist features enters into dialogue with furnishings designed by the studio, design icons or pieces found on construction sites or villas renovated by the studio, all developed on a purple background, distinctive of the image of the studio. Here we find new contemporaneity in the aesthetics but also in the concept of the studio. The space in fact aims to make the work of art dialogue with the design object and vice versa within the Finesettimana.Milano project. On the occasion of the inauguration of its new spaces in Milan and for the launch of the new initiative, the studio hosts its first event on the occasion of the next edition of Milan Art Week . In collaboration with the Susanna Orlando gallery of Pietrasanta, the Komorebi exhibition in Milan by Susanna Canosa, an established Spanish contemporary artist, will be presented with the exhibition of recent works in which the artist presents, through her works, the evocative theme of komorebi, the effect created by the light that filters through the leaves of the trees and which symbolically represents man's natural attraction towards rays of light. To allegorically represent this connection between light and lightness, Canosa's paintings will be related to antique furnishings and accessories and collectible design that communicate the transparency, lightness and suggestion expressed by Canosa's paintings, creating a harmony between work of art and object. The works will be exhibited in all areas of the studio, including those specifically dedicated to interior design. The exhibition and the studio spaces will open to the public during Art Week 2024.
Thomas Zangaro Studio location