Bellinzona 2001

Selected in “AIGA 50 books/50 covers 2004 competition”

Books exhibited in: “Somewhere Totally Else” – the best of European contemporary design.
Design Museum, London, 27 sep. 2003 to 4 jan. 2004

Bellinzona 2001
Un lavoro di Felice Varini nelle fotografie di:
Pino Musi, Jordi Bernadò, André Morin, Pino Brioschi.

Testo di Roberta Mazzola
Design by Theredbox communication design

19×22 cm (aperto/open 14,25 m)
Rilegatura a leporello
75 pp
36 illustrazioni a colori, 36 ill. in bianco e nero
PB

ISBN 88-87469-29-6
Italiano / English / Deutsch / Français

CHF 45,–

Il libro nato dall’esposizione fotografica «Segni» tenutasi a Bellinzona nel 2001, per festeggiare l’inserimento dei castelli bellinzonesi nel patrimonio mondiale dell’UNESCO e promossa dal Dicastero cultura città di Bellinzona, riprende l’idea originale dello studio luganese theredbox per l’allestimento della mostra che vedeva tutto il materiale fotografico stampato su di un’unica lunga striscia di materiale plastico. Il libro infatti è stampato su una striscia di carta ripiegata a soffietto, lunga ben quattordici metri, che permette al lettore di avere una visione consecutiva delle fotografie e, una volta arrivato alla fine, di ricominciare dall’inizio con i testi. La pubblicazione chiude un ciclo naturale di un intervento artistico che aveva visto il suo inizio con i “segni” su Castelgrande e la sua continuazione con l’interpretazione fotografica dei quattro fotografi. L’importante trasposizione cartacea dell’esposizione chiude effettivamente un ciclo, ma ne apre un altro non meno iportante: la documentazione e la diffusione di un’idea, di un evento, di una città. Come l’intervento artistico ha lasciato un segno sui castelli e, conseguentemente, nella memoriadella città di Bellinzona, così la pubblicazione traghetta questo bagaglio di esperienze fuori dalle “mura” permettendole di raggiungere un vasto pubblico. L’ottimo saggio critico di Roberta Mazzola è preceduto da un’introduzione di Brenno Martignoni e da un testo di Diego Moles che contestualizza l’operazione. L’indiscussa qualità della pubblicazione le ha permesso di essere selezionata per un’esposizione sul miglior design contemporaneo europeo presso il Design Museum di Londra (2003/2004).

The publication is a collection of photographs which documents the project by the artist Felice Varini at the Bellinzona Castelgrande. To capture the three circular fragments which interact fluidly in the space composing the landscape of and around Bellinzona, the observer needs to find just the right viewing angle between the merlons of Montebello Castle, facing towards the Castelgrande. This is the perspective that the author has projected in his design. For some months, following the inscription of the castles and the defensive walls onto the UNESCO World Heritage List, the observer has been offered a unique view of the city and buildings being adorned by surfaces of red. These traces were incidental, without cohesion between them, but highlighted, arbitrarily and yet significantly, the city and its buildings.The pictorial device which has been put in place preserves some presuppositions of the contrivance of the perspective, and envisages an external observer, immobile in front of the image plan. At the same time, however, it also affirms our participation in the interpretation of that which is being exhibited, through the movements in the given space, and in this diversity of viewpoints. The situation with which the artist is confronted is, however, rather unusual, and for certain verses it deals with a work “at the limit”. It deals with a fresh, untried concept, given the great distances involved, and the range of practical supports which needed concrete forms of identification. Above all, it was an opportunity to test the projection techniques, as well as the creation of images via pre-printed monochromatic strips adhering to the various surfaces.
“I adore this book. It is really more of an object than a read, and fully explores the form’s sculptural potential.”
Cheryl Towler Weese
“The content is translated into a simple, straight and generously designed panorama.”
Lars Müller
From: AIGA Design Archives

http://www.designarchives.aiga.org

DESIGN MUSEUM, LONDON

SOMEWHERE TOTALLY ELSE
European Design Biennial
27 September 2003 to 4 January 2004

The Design Museum is celebrating the best of European contemporary design in Somewhere Totally Else – European Design Biennial, the first of a series of exhibitions featuring the most exciting and innovative design projects to have been produced in Europe in the past two years.

Exploring every area of design – from the ‘office of the future’ that the French designers Ronan and Erwan Bouroullec have dreamt up for Vitra, and the Trent 80 engine developed by Rolls-Royce’s design engineers for the new A380 double-decker jumbo jet which promises to revolutionise air travel, to the hottest couture collection and a 27p stamp – the Biennial will be a must-see exhibition running from 27 September 2003 to 4 January 2004.

The Design Museum’s first Biennial comes at a time of unprecedented public interest in design when, thanks to advances in technology, we can choose to change the way we lead our lives: by living and working in the same place, for example, or working while we travel. The same new technologies are enabling today’s designers to work more creatively than ever before. The theme of Somewhere Totally Else – originally the title of an essay by the design theorist Reyner Banham – is to show how inspiring and innovative design can transform our daily lives for the better.

As well as offering Design Museum visitors a whistle-stop tour of the most exciting innovations in European design, the Biennial will encourage them to question their perceptions of ‘good’ and ‘bad’ design. Some exhibits will be chosen because they look great, others for practicality, their positive impact on the environment or ingenious use of technology. While featuring work by famous designers, Somewhere Totally Else will also introduce Europe’s rising design stars and unearth anonymously designed products, which, like everything else in the exhibition, will exemplify excellence in design. Visitors will be able to voice their opinions by voting on what they consider to be the best – and worst – examples of different aspects of design in the Biennial.