All-around miart the “Art of Gestures”
This year, the advertising campaign of miart comes with a blast of (new) energy. Titled the “Art of Gestures,” the campaign takes its inspiration from the vocabulary and movements of rhythmic gymnastics.
As a way to interpret the central concerns for miart 2017, the fair’s visual identity has been conceived to focus on the relationship between the athletic and the artistic gesture, wherein there are more to similarities than meet the eye. And sure enough, in their endurance, both these skilled gestures tend towards an unprecedented moment–that is, a masterpiece in harmony. Moreover, the athletic movement stands as a metaphor for the artistic choice, by its unfolding and evolving through the spacetime.
Since you never change a winning team, the “Art of Gestures” has been once again art directed and designed by Mousse in collaboration with the collective Rio Grande (Francesco Valtolina, Natascia Fenoglio, Lorenzo Cianchi). As Valtolina told us, “the exciting challenge for this campaign was to bring together other worlds and imageries, which often are not directly connected to the one of art.” Therefore, not only new professionals have joined the team of this campaign: the choreographer and performer Jacopo Jenna, who styled the poses and gestures of the gymnasts; the photographer Ilaria Orsini, who shot the campaign; and the filmmaker Marco Bellone, who narrated the campaign through a series of soon-to-be-released videos.
After the previous campaigns focused on the relationship between man and nature via the imageries of falconry, hunting, and beekeeping, this year the attention is paid upon the human figure in its abilities of wonder. Therefore, the visuals belong to a set of precise gestures and harmonic movements in the space, where details and close-ups of bodies act in the frame and tighten the gym apparatuses involved: a talented hand catches a shimmering ball; oanother one creates a perfect oval shape by balancing a soft ribbon over its bending torso; or even a toned leg is trained in a sagittal split with a bright, elastic band. Indeed, as Valtolina stated, the “effort has been precisely to work on the human figure, and yet to abstract the performativity of the athletic exercise.” But also, “the props designed by Rio Grande pay an homage to the world of Milanese design from the mid ‘60s,” Valtolina concluded. Notably, in their optical, psychedelic finish, the leotards worn by the gymnasts refer to the visual identity of the 33rd edition of the Venice Biennale, envisioned by the Dutch creative Bob Noorda in 1966; whilst the clubs recall the Falkland lamp, conceived by Italian designer Bruno Munari in 1964 for Danese Milano, Italy.
This brand-new imagery, yet with an eye on the past, confirms the direction of this new edition of miart, which already promises to be full of surprises.