On the occasion of the Milanese week dedicated to design, Triennale Milano selects together with Lavazza (its institutional partner) the artistic work of Lorenzo Vitturi (1980) with a view to becoming a spokesman for values of art and sustainability. In fact, Vetturi’s research focuses on the construction of temporary and ephemeral stage sets and sculptures through the use of salvaged organic and industrial materials. Specifically, the work presented inside the Triennale Café summarizes the values shared by the artist and the Lavazza Group, with the aim of building a dialogue between geographically distant cultures and in this way incentivizing the building of human relationships “because the confrontation between people who are different in age and culture releases a great creative energy that leads to positive change.” says Francesca Lavazza, Board Member of the Lavazza Group.
Lorenzo Vitturi’s work, titled “Terra-cotta, Plastic Pots and Chai and Chinese Hibiscus,” in fact appears as a tapestry composed of different elements from geographically and culturally distant places. “It all started during my trip to Rajastan,” artist Lorenzo Vetturi tells Collater.al, who met him at the opening event at the Triennale, “here I started the Jugalbandi series, which in Hindi means ‘intertwined twins’ and refers to when two solo musicians meet and work together. I liked the idea of using this term as a title because this is a work I made in collaboration with weavers from the Jaipur Rugs Foundation, a foundation that works on socioeconomic development projects in local communities through weaving. Like two soloists play together, the weavers and I came together in the making of this textile work, on which they themselves intervened.”
In fact, the artist starts from an analysis of the place where he is located, the village of Aspura, and begins by photographing all the everyday objects, particularly the tools that the weavers use, then moving on to a work of redrawing, obtaining a kind of organic collage. The shapes reproduced from the textiles do indeed seem abstract but, looking more carefully, one notices how the artist takes up the silhouettes of the terracotta vases and plastic containers used to transport water, objects that are made explicit within the title as well as the Chai and Chinese Hibiscus which is the name they call the color red, used within the work. The title itself thus enhances the proposed cultural encounter, which then continues in Vitturi’s studio. “Once the weaving work was finished, the piece arrived in Italy,” Lorenzo explains, “and here I began to insert everything that is my world. Working in Venice, I inserted elements in Murano glass, made with waste elements from the glassmaking industre. The work becomes a material encounter, a physical representation of this dialogue between cultures, the effect is that of a map.” In addition to being born out of an exchange, or rather, a cultural encounter, the work itself, constantly moving from place to place, undergoes a constant transformation through the artist’s intervention. “This piece is always traveling, every time it moves it is transformed because I keep changing it, adding more elements. In fact, inside it you can see Murano beads, Peruvian balls and Nigerian nets, for example. It becomes a mixture.” It is in this way that the relationship with Lavazza intensifies. “Just as Lavazza combines coffee beans from different parts of the planet and it is a material that is transformed into a journey, I also in my work create connubi between different worlds.”
Photo credits: Andrés Juan Suarez