Volantino Alitalia dal 1 al 29 febbraio 2020 - pagina 81 - NON È PIÙ VALIDO

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Volantino Alitalia - 1/2/2020 - 29/2/2020. Pagina 81.
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GreatBeauty Alessandro Mendini La mostra Mondo Mendini è aperta fino al 5 maggio 2020 al Groninger Museum. Informazioni: Museumeiland 19711 ME Groningen groningermuseum.nl 80 _ ULISSE _ febbraio 2020 DA COLLEZIONE L’opera Tête géante del 2002 nella collezione Alessandro Mendini a Milano. Tête géante (2002) from the Alessandro Mendini collection in Milan. OGGETTI ICONICI Il cavatappi Anna G. del 1994 realizzato per Alessi. Anna G. corkscrew (1994) created for Alessi. RICCARDO BIANCHI DESIGN SCULTOREO Tre immagini dall’alto: La Giostrina Alessi del 2000, la scultura Lassù, 1994-2005, prodotta da Short Stories e la celebre Poltrona di Proust del 1978. The Giostrina Alessi (2002), the Lassù sculpture (1994-2005), produced by Short Stories and the renowned Proust Armchair (1978). MARTEN DE LEEUW ARCHITETTURE L’esterno del colorato Groninger Museum in Olanda. The facade of the colorful Groninger Museum in Holland. GRONINGER MUSEUM HEINZ AEB cio giocoso, eccessivo, ironico, le forme sorprendenti, la potenza del colore, della decorazione, senza aver mai timore di sconfinare nel decorativismo pop o nel kitsch. “Sono contrario alla retorica, all’Accademia – amava dire – e pertanto l’ironia è quella che permette di azzerare anche gli eccessi su me stesso, trasformandoli, ogni tanto, anche in una barzelletta”. Oltre ai suoi oggetti iconici come la Poltrona di Proust, il cavatappi Anna G”a forma di ballerina, il macinapepe Anna Pepper o la Lampada Amuleto, che hanno fatto la storia del Made in Italy, Mendini è stato anche molto attivo in ambito architettonico, dalla nuova piscina olimpionica a Trieste al Teatro Comunale Pietro Aretino di Arezzo, fino a tre stazioni della metropolitana di Napoli. Tra gli edifici più celebri figura il Groninger Museum nei Paesi Bassi. Questo spazio, che Mendini ha voluto progettare in collaborazione con altri designer e architetti – Philippe Starck, Michele De Lucchi e il gruppo Coop Himmelb(l)au hanno realizzato alcuni padiglioni – celebra il designer con la mostra Mondo Mendini – The World of Alessandro Mendini, da lui concepita poco prima della sua scomparsa e a venticinque anni dalla costruzione dell’edificio. Mendini ha voluto esporre non solo un’ampia selezione dei suoi lavori, tra cui una versione gigante della sua memorabile poltrona o la Petite cathédrale, cattedrale in miniatura interamente coperta da mosaici, ma anche opere di artisti e designer con cui aveva affinità come Paul Signac, Wassily Kandinsky, Henri Matisse, Kazimir Malevich; progetti architettonici di Theo van Doesburg e Gerrit Rietveld; oggetti ideati da designer italiani come Gio Ponti, Michele De Lucchi, Gaetano Pesce e i recenti dipinti dell’artista americano Peter Halley. Mendini affermava: “L’elemento unificatore nel mio lavoro – che scivola dal piccolo al grande, dal solido al fluido, dall’oggetto industriale a quello artigianale, dai materiali nuovi e sintetici fino a quelli antichi – è l’elaborazione di alfabeti visivi, ovvero segni studiati a tavolino, in certi casi più istintivi in altri più elaborati”. A Groningen, nel suo inconfondibile museo colorato, c’è tutto questo! ● On the 18th of February last year, the world of design, art and architecture lost Alessandro Mendini, one of the most visionary, irreverent and revolutionary figures of our time, who passed away at the age of eighty-seven. The Milanese designer, architect, theorist and artist was the editor-in-chief of several architectural and design magazines: “Casabella” (in the early seventies), “Modo” (which he founded in 1977 and directed until 1981), and “Domus” (in the early Eighties and then in 2010 and 2011). In the course of his career Mendini was awarded three Golden Compasses for design – in 1981 jointly with Studio Alchimia – and the highly distinctive quality of his works and their surprising poetic impact brought him renown on the international scene. Nevertheless, it was hard to put a label on this nonconformist who was highly critical of consumer society right from the beginning of his career, and who looked to literature, painting and the history of art to fuel his boundless imagination in the field of design. Mendini’s 1974 chair entitled Lassù (“Up There”) was raised on a plinth, making it necessary to climb up to it. And his Valigia per l’ultimo viaggio (“Suitcase for the last trip”) was a bag made of stone, far too heavy to be lifted. These were clearly works of art, rather than functional or useful objects, and Mendini eliminated the boundaries between the disciplines of architecture, art, design, sculpture and design. What always predominated in his work was a playful, excessive and ironic approach, using surprising shapes, MUSEO ALESSI ALESSANDRO MENDINI ARCHIVE ERIK EN PETRA HESMERG Designed by Mendini, the Groninger Museum in the Netherlands celebrates the revolutionary Milanese designer and architect MUSEO ALESSI SERGIO RICCO IRONY IN POWER and the power of colour and decoration, and he was never afraid to explore the realms of decorative pop-art or kitsch. “I am against rhetoric and the Academy – he liked to say – and thanks to irony I am able to do away with my own excesses, sometimes even transforming them into a joke.” His iconic objects such as the Proust Armchair, the Anna G corkscrew in the shape of a dancer, the Anna Pepper pepper mill and the Amulet Lamp have entered the annals of Italian design. Mendini was also very active in the field of architecture, elaborating plans that included the new Olympic swimming pool in Trieste, the Pietro Aretino Municipal Theatre in Arezzo, and three subway stations in Naples. One of his most famous buildings is the Groninger Museum in the Netherlands, on which Mendini decided to collaborate with three other architects and designers – Philippe Starck, Michele De Lucchi and the Coop Himmelb(l)au group – who planned several of its pavilions. This museum is now paying homage to the designer with the exhibition Mondo Mendini - The World of Alessandro Mendini, which he himself conceived shortly before his death twenty-five years after the building was completed. Mendini not only wished to exhibit a wide selection of his works, including a giant version of his memorable Proust Armchair and the Petite Cathédrale, a miniature cathedral totally covered with mosaics, but also works by artists and designers with whom he felt an affinity, such as Paul Signac, Wassily Kandinsky, Henri Matisse and Kazimir Malevich, in addition to architectural projects by Theo van Doesburg and Gerrit Rietveld, objects conceived by Italian designers such as Gio Ponti, Michele De Lucchi and Gaetano Pesce, as well as recent paintings by the American artist Peter Halley. Mendini affirmed that “the unifying element in my work – which flows from the small to the large, from the solid to the fluid, from industrial objects to those produced by craftsmanship, from new and synthetic materials to ancient ones – is the elaboration of visual alphabets, i.e. carefully planned signs, in some cases more instinctive and in other cases more elaborate”. All of this can now be seen at Groningen, in the unmistakable multi-coloured museum! ● The Mondo Mendini exhibition will be held until May 5 2020 at the Groninger Museum. Information: Museumeiland 19711 ME Groningen, groningermuseum.nl ULISSE _ febbraio 2020 _ 81

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