At Carrozzeria900, Teatro Domestico presents a rare reconstruction of furnishings designed by Mario Ceroli. All dating back to the 1970s, all in wood, and all originating from a single country house — a set that remained intact for decades. On view until December 20, 2025, the installation restores the intimate unity of a domestic space imagined by one of the most distinctive sculptors and designers of the Italian landscape, recalling that metaphysical dimension dear to De Chirico, where even furniture becomes a living presence.

The project is built on the idea that form and function are never truly separable: the carved silhouettes of a bed or chair become, at the same time, structure and expression, utility and imagination. These are furnishings conceived to be lived in, yet imagined through the eyes of a set designer, as if the home were already a stage — silent islands that hold the same tension between interior and exterior, intimacy and displacement, that De Chirico’s poetics made iconic.

The choice of material is decisive. Pine, a humble wood, holds the designer’s cuts and profiles with precision, making them even more tactile. The grain guides the eye, suggesting a possible movement across otherwise static surfaces. Within this controlled geometry, light becomes a silent accomplice — absorbed, reflected, softened by the natural tones of the wood. The space takes on a suspended atmosphere, both curated and spontaneous, as if it had been discovered rather than staged.

Mario Ceroli’s work has always moved between sculpture and scenography, between the singular gesture and the inhabited environment. His furniture embodies this duality. Functional forms become carriers of emotion through exact proportions and a material intelligence that does not rely on ornament. In Teatro Domestico, the boundary between art and craft dissolves, allowing a human, grounded design language to emerge — one that speaks directly to those who live, observe, and imagine.