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We cannot help feeling pleased and proud at the return of the Biennial of Sardinian Handicrafts to Sassari.

Twelve years after its last edition, the Region of Sardinia is promoting an event that has been absent for far too long, within the perspective of an ever closer integration between strategic sectors of our economy: craftwork and tourism. These are, in a sense, two sides of the same coin, which can and must be promoted together and can and must relaunch the image of Sardinia in the world. What better occasion, then, than a showcase with a prestigious history (I shall not dwell here on the great Eugenio Tavolara and Ubaldo Badas, or on the golden years of ISOLA) to present the excellences of artisan creativity and at the same time to reiterate that Sardinia’s charm is closely tied to the uniqueness of its history.

The 19th Biennial is distinguished by a highly evocative title: Domo, for Sardinians the house. A living container of material culture. Thus it proposes a powerful formula, albeit experimental and in debate, based on quality and inevitably on selection, that identifies 32 designers and 60 artisan workshops capable of rewriting the tradition in an innovative way.

The result is represented by more than 200 objects, each one unique and of the highest technical quality, models to be studied also and above all with an eye to the market, which will become part of the patrimony of the Region and thus of all Sardinians.

Sebastiano Sannitu Head of the Department of Tourism, Craftwork, and Commerce Autonomous Region of Sardinia

Crafts Fair ICAS main hall, Sassari 1953

Assessorato al Turismo, Artigianato e Commercio

SASSARI 26.06.09

29.08.09

IL CARMELO >>>>> via Archivolto del Carmine <<<<<

XIX Biennale dellâ&#x20AC;&#x2122;Artigianato Sardo

Exhibition

Planning Ilisso edizioni

Graphic design and layout Paolo Bazzani

Scholarly committee Giuliana Altea, Pietro Clemente, Francesca Picchi

Editorial coordination Anna Pau

Technical and organizational coordination Annalisa Cocco, Antonello Cuccu, Roberta Morittu, Anna Pau Graphic design Paolo Bazzani

Catalogue

Exhibition mounted by Ilisso edizioni Installation Antonello Cuccu, Alessandro Floris Consultation Giuliana Altea Press office Nicoletta Murialdo Exhibition furnishings Arte Tessile, Artigianato & Design

Editorial collaboration Antonella Camarda Translation Susan Scott The photographs of the objects in the catalogue were taken expressly for this book by Pietro Paolo Pinna, with the exception of pp. 17, 44, 51, 220, 258, 262, taken by Nelly Dietzel.

The photos of the artisans and their workshops are the result of a project of documentation carried out between November 2008 and May 2009 completely by Maria Teresa Cosseddu.

Portraits courtesy of designers Comments on handicrafts edited by Ilisso, unless otherwise specified Grateful acknowledgement is due to Maurizio Savoldo and Rosa Pinna for their generous and active collaboration in the execution of the textile projects, and to Giovanni Guccini and Antonio Atienza for creating the 3D renderings.

Special thanks go to the artisans and designers for their constructive participation in this project.

Š 2009 ILISSO EDIZIONI - Nuoro www.ilisso.it ISBN 978-88-6202-051-0

Index 6

What to do about promoting Sardinian handicrafts Enzo Mari

6

What relation between craftwork and design? Enzo Mari and the “handmade” Francesca Picchi

10

Design for a new craftwork Giuliana Altea

19

Ceramics

77

Leatherwork

83

Woodworking and Cork

109

Weaving and Embroidery

173

Glass

179

Metals

211

Basket Weaving

227

Jewelry and Coral

265

Stone

273

Designers’ biography

283

Artisans’ biography

28 | 29

Brocche

They have lost their handles. Pure circular forms like the swirling movement of the water they held. And like the tongues of flame that, entering their up-

design Gianfranco Pintus execution Giuseppe Locci

side-down cavity, fire them. As though perpetually turning on the wheel, frozen in the instant of their making.

Gianfranco Pintus

Brocche partly glazed terracotta, wood-fired in the kiln, h max 60 cm

42 | 43

Barca and Hana Design drawings Cocco bowl, raku, 31.6 x 11.5 x 6 cm Hana bowl, raku, 21.3 x 14.6 x 6.2 cm In the Raku workroom Cagliari, March 2009

52 | 53

Cenerone

Smokers are by now a disappearing breed. Poor things! They canâ&#x20AC;&#x2122;t smoke anywhere. You see them smoking outside a coffee bar like outcasts, as

design James Irvine execution Ceramiche Manis

though were Custer during his last stand. Cenerone is a practical outdoor object for the last knights of bad habits to deposit their cigarette butts.

James Irvine

Cenerone outdoor ashtray, glazed terracotta (red and white); terracotta with wax finish h 71 cm, ø 35.5 cm In the Manis workshop Oristano, April 2009 Cenerone Design drawing

68 | 69

Al centro delle cose: il cuore Archetypal form in contemporary re-functionalization design Alessio Tasca execution Terrapintada

An examination of the recurring elements in artisan visual culture brought out one that is easily adapted to the ceramic shaping based on wire drawing process: the flaming heart.

Involving the local blacksmith in making the matrix to be applied to the mouth of the slab-roller, discussing, mixing the clays, trying and trying again to twist, scratch, remove, empty out, destroy, and decorate the form, choose the size of the segment that comes out under the pressure of the piston, and finally to establish what functional legacy to attribute to an insight that is creative even before being practical, was the total commitment of the group, made up of designers, potters, and supporters. We did not want to design and experiment with how to make an individual object, but something that, involving artisans and designers in the same way, moved towards a new and different way of doing things, responses to the new object for use labeled Sardinia. We wanted to experience an emotion together by venturing onto the terrain of discovery. A deeply-felt legacy, capable of leaving a lasting mark.

So here is the heart, the central subject of the circle, ready to go from being an “objet à réaction poétique” to becoming a floor, a panel, a divider and whatever else one wants to use it for. “Ours” is a heart that is open.

Room divider ceramic shaping based on wire drawing process, slip-glazed terracotta h 8 cm, ø 12 cm Modular elements ceramic shaping based on wire drawing process, slip-glazed terracotta ø 12 cm; chromium yellow 19.7 cm; turquoise h 14.7 cm; black 29.7 cm

86 | 87

Elica and Unghia

Rethinking the wooden cutting board, usually the least designed object in the kitchen. The idea of giving the cutting board two different areas, one for

design Giuseppe Flore execution SAA di Marco Cortopassi

cutting and one for presenting the food, suggested forms that were functional for these purposes. Elongated, symmetrical oval forms shape the areas for the rite of cutting and offering meat, cured products, and cheese.

Giuseppe Flore

Elica cutting and serving board, chestnut wood small 14.3 x 40 x 3 cm large 17.2 x 59.2 x 3 cm Unghia cutting and serving board, chestnut wood small 15.2 x 50 x 3.2 cm large 23 x 73.5 x 5 cm Elica and Unghia Design drawing In the SAA workshop Sassari, February 2009

104 | 105

Suber

An attempt to redeem cork, an ancient material with boundless potential, from the mortifying, almost exclusive role to which it is currently relegated

design Pierluigi Piu execution Nonsoloferro

as a material for making tourist souvenirs.

Pierluigi Piu

Container turned cork on a metal base h 47 cm, ø 32 cm Suber Design drawing

116 | 117

Cisto

The design plays on the contrast generated by the combination of a traditional Sardinian weaving technique with a decoration that appears decid-

design Marta Laudani, Marco Romanelli execution Su Telarzu di Maddalena Mula

edly contemporary in tone, devoid of folk connotations, but that in reality derives from the reworking of a motif typical of the old copricassa used on the Campidano plain.

Gio Ponti, speaking about the decorative arts, said that at times ÂŤthe hand gets there firstÂť. Realizing the truth of this statement is the most intense shock one receives when approaching the world of craftwork. Savoring the instantaneousness of the short circuit between idea and execution. Living the immediacy of the encounter between the one who imagines and the one who gives life to this imagination: suddenly the concept becomes an object and the object preserves the freshness that is often, in industrial production processes, canceled out by the division of labor. Conversely, between the designer and the artisan, once they overcome their atavistic diffidence, a complicity of doing, of knowing how to do, springs up, whether it is a matter of bending a golden wire or keeping up with the stitches on a loom. Ancient movements that can project the immobility of their repetition far away from the stereotypes of form. Because the value lies in the movement, not in the repetition. And the movement, rich in what has already been, can without doubt give rise to new forms.

Marta Laudani, Marco Romanelli (with Filippo Francescangeli)

Cisto a pibiones weave on horizontal handoperated loom, cotton warp and Sardinian wool woof, 240 x 175 cm In the Su Telarzu workshop Dorgali, January 2009

192 | 193

Fregula

For each project, I tried to think of something that had to do with the specific way of working the materials, that could bring out the potentials and pecu-

design Alessandro Artizzu execution Luigi Pitzalis

liarities intrinsic in the chosen one. Copper, for example, can be embossed and beaten to create textures, and along this line I followed the suggestions and experience of Luigi Pitzalis in his workshop in Isili.

Having established that every object had to have a simple, convivial daily use, I thought of a soup tureen for enjoying to the utmost a typical dish of the Sardinian tradition, fregula (a kind of pasta) soup.

Alessandro Artizzu

Fregula beaten copper, lined with tin h 13 cm, ø 24.5 cm; lid h 8 cm, ø 25 cm; dipper length 30 cm, ø 11,3 cm

206 | 207

Tilson and Zizzu lampshades, painted iron 46.5 x 29 cm; 46 x 29 cm Zizzu and Tilson Design drawings

214 | 215

Gedda

I love tradition when I overturn it, making it speak a contemporary language poised on the edge, the fruit of tensions and regroupings.

design Angelo Figus execution Maria Raimonda Pinna

Angelo Figus

Gedda armchair, reed with insertions of colored reed and cloth; painted iron frame homespun wool cushion ø 96 cm, frame (by BAM Botteartemetalli) h 46 cm, total height 120 cm In the workshop of Maria Raimonda Pinna San Vero Milis, February 2009

222 | 223

Osilo

Browsing through the documentary material on Sardinia, I found some photos of the women of Osilo and Ittiri wearing their traditional costumes, and

design Tomoko Mizu execution Alessandra Bennici

they made a great impression on me.

The shape this costume gives the female body reminds me of a big bird with widespread wings showing its beauty but at the same time hiding its fear and its strength.

I wanted to render this female form in my project, and I designed it as a basket, hoping to convey my same emotion.

Tomoko Mizu

Osilo container, asphodel, h 70 cm Osilo Design drawing Alessandra Bennici working in her home/workshop Flussio, February 2009

230 | 231

Teca

The idea is to renew an ancient typology of jewelry: jewelry as a case for photos, relics, or similar mementos. A type of jewelry no longer used today, but

design Giuseppe Flore execution Inventos de pratta

very popular in the past in the Mediterranean as well as other cultures. Here the case is redesigned with an essential form, fashioned to hold the protective glass, and special attention to the fastener. Pendants, rings, and earrings are the pieces developed. And finally the contents, which can be a photo, cloth, drawing or painting, an integral part of the design for Teca (â&#x20AC;&#x153;showcaseâ&#x20AC;?) jewelry.

Giuseppe Flore

Pendant and earrings microfused silver, glass and cloth module 2.5 x 2.4 cm Ring microfused silver, glass and cloth module 2.5 x 2.4 cm Teca Design drawing In the Inventos de pratta workshop Sassari, May 2009

248 | 249

Cukina

«There is no place in the world I love more than the kitchen. It doesn’t matter where it is, what it looks like: as long as it is a kitchen, a place where

design Adriana Delogu execution Creazioni Antonello

food is prepared, I am happy there. If possible, I like for them to be functional and lived-in. Maybe with lots of clean dry dishtowels and gleaming white tiles. I am even crazy about incredibly dirty kitchens» (Banana Yoshimoto, Kitchen).

Adriana Delogu

Ring 18-carat gold filigree, 2.5 x 2.5 cm Collier 18-carat gold filigree, 23 x 16 cm In the Creazioni Antonello workshop Nuoro, April 2009

268 | 269

Lacu

A formal reduction at its most extreme marks this project, which aims at combining functionality and suggestions of warmth and manual skills coming

design Palomba e Serafini execution CP Basalti di Walter Pinna

from the choice of material and sculptural connotations of the design. A sober parallelepiped, the basin is characterized by a soft effect of indentation on the left side that recalls a well-known work by Costantino Nivola, Su muru pringiu (“The Pregnant Wall”), in the Museo Nivola in Orani. Here the quotation is “inverted,” since what was there convex here becomes concave.

Lacu Design drawing Basin basalt, copper (made by BAM Bottegartemetalli), 61 x 209 x 91 cm In the CP Basalti workshop Borore, May 2009

Liana Ardu

Arredamenti Cherchi

Artessile

Arte Tessile

Liana Ardu acquired her expertise through apprenticeship in the family, learning skills traditionally handed down from mother to daughter. She weaves tapestries and runners at a horizontal hand-operated loom, working according to the a bagas technique, using colored wool yarns, gold and silver threads, and linen. She takes part in collective and trade fairs and events such as the Fiera del Tappeto in Mogoro, the Fiera Internazionale della Sardegna in Cagliari, the Biennale dell’Artigianato Sardo in Sassari, Macef in Milan, Florence Gift Mart in Florence and the Fair of the Environment in Tokyo.

Chestnut, ash, cherry, and walnut are the types of wood preferred by Gesuino Cherchi, founder of the company, to make his handcrafted tables and chairs.

A carpenter since the 1950s, after a period spent in Germany he has been in business in Orosei since 1963. In 1973, he began working with ISOLA. Since the beginning, his work has been closely connected with that of the designer Giovanni Antonio Sulas, both in the creation of home furnishings for the Aga Khan Karim’s house on the Costa Smeralda and for the interiors of leading hotels (belonging to the Consorzio Costa Smeralda: Cala di Volpe, Pevero, Romazzino, Liscia di Vacca; Su Gologone in Oliena; F.lli Sacchi in Ortobene di Nuoro). His cane-bottom chairs, characteristic of the Sardinian tradition, are a special pride of the shop (carving, lathing, lacquering, etc.), to the point that they are part of the furnishings of the Mueso della Vita e delle Tradizioni Popolari in Nuoro. Today, working alongside Gesuino are his sons Giovanni and Emiliano.

Artessile, founded more than twenty years ago under the guidance of Elena Mulas, has become a leader in the production of accessories for the home made on a mechanical loom, but with an important role assigned to manual skill.Tapestries, rugs, curtains and linens for the home, woven using traditional techniques, reproduce primarily the typical Sardinian motifs, except when made to special order for hotels and restaurants, which represent the major part of their clientele. Artessile creations decorate numerous hospitality structures and private homes in Sardinia and are widely appreciated in Italy and abroad, thanks to the company’s frequent participation in international shows and fairs.

Arte Tessile was founded in the 1970s in Samugheo. The company immediately aimed at maintaining a strong tie with tradition, while at the same time equipping itself with the most modern instruments, mechanical and semi-mechanical looms, so as to be able to satisfy the increasing demand. Along with its textile production, Arte Tessile also has a metalworking division, which makes the frames for sofas, armchairs, and beds which are then upholstered with the company’s fabrics, as well as numerous decorating accessories like lamps, tables, chairs, etc.

Arte Tessile has furnished numerous hotels and vacation villages in Sardinia with its products (tapestries, rugs, linens, pillows, and lamps), as well as supplying upholsterers and stores. Its production capacity and attention to the high quality of its products make this company a leader on the Sardinian scene.

Arredamenti Cherchi di Giovanni e Emiliano Via Nazionale 203, 08028 Orosei (NU) phone/fax 0784 98815

Artessile di Elena Mulas Località Toppunu, 08040 Urzulei (OG) phone 0782 649253

Liana Ardu Via G.B. Tuveri 1/B 09022 Lunamatrona (MD) phone 070 939716

Arte Tessile di Sanna e Frongia & C. s.n.c.

Z.I. Turruia, 09086 Samugheo (OR) phone 0783 64475; fax 0783 649224 Showroom: via Maria Teresa 8 07028 Santa Teresa di Gallura (SS) phone 0789 754657

284 | 285

Artigianato&Design

Artintaglio Mastru Mimmiu

Antonina Atzeni

Aurum

Founded in 2006 by Pietro Fois (1976) and Giovanni Carta (1975), subsequently joined by Achille Sanna (1984), the company brings together the work experience attained from the mid-1990s by its various partners, constantly aided and supported by the outstanding furniture-maker Claudio Mangoni of Nuoro. It was created with the intention of developing an organic relationship between the various sectors of woodworking, with special attention to interior decoration and temporary installations for exhibitions and fairs. Involved mainly in activities connected with the visual and applied arts, the firm works with numerous public and private institutions, including the Istituto Superiore Regionale Etnografico, MAN, the Fondazione Banco di Sardegna, the Region of Sardinia, the City of Cagliari, Ilisso Edizioni, and Cantine Argiolas.

Mastru Mimmiu Solinas was a renowned woodcarver and furnituremaker from Buddusò (the town named a street after him in 1999, and has dedicated to him a symposium on wooden sculpture since 1984). His shop, founded in the 1950s, is now run by his son Mario Renzo, who inherited from his father both his skill and his passion for working with wood.The shop produces strictly handmade home furnishings decorated with the typical motifs of Sardinian woodcarving, but also reproductions of the classical styles from the history of furniture. In 2003 the shop was commissioned to renovate the Apollonian rooms of La Fenice theater in Venice.The sector of restoration and renovation is one in which the company excels, working for prestigious public and private patrons all over the world.

The workshop of weaver Antonina Atzeni (1949) is located on the ground floor of the municipal building that houses the “Living Museum of the art of weaving”, where the display of antique items made in the town is arranged on the two upper floors.

In the workshop, where during periods of peak demand other weavers are called in to help, are four traditional looms. The products Antonina has made for sale are on display, worked according to the a briabi and a lauru techniques: tapestries, pillows, curtains, towels, blankets, etc. Antonina also runs the museum, which is open to visitors by appointment. Here are shown interesting textiles made in the town, more or less antique, almost all made for special occasions, such as copricassa, saddlebags, blankets, ornaments for animals, and tablecloths.

After earning a diploma in Applied Arts from the Istituto d’Arte in Nuoro and a period of apprenticeship and work at the Laboratorio Orafo Todde, Francesco Cadino (1971) opened Aurum in 1999.The techniques of filigree and embossing are applied to precious metals in order to create personalized jewelry with a modern taste, but also with an eye to Sardinian culture. In this line, since 2002 he has collaborated with the artist Antonello Cuccu to rework the jewels of the Sardinian tradition, and he makes pieces of silver jewelry reproducing the Barbagia Carnival masks for the Museo delle Maschere Mediterranee in Mamoiada. He has participated in numerous regional events since 2004, and his creations are found in the finest artisan shops and jewelry stores in Sardinia.

Artigianato&Design s.n.c.

Via Lollove 130, 08100 Nuoro phone 0784 231390

Artintaglio Mastru Mimmiu di Mario Renzo Solinas Via Fodde 10, 07020 Buddusò (OT) phone/fax 079 714043

Antonina Atzeni c/o Museo vivente dell’arte tessile Via Chiesa 16, 09090 Morgongiori (OR) phone 0783 932108

Aurum di Francesco Cadinu Piazza San Giovanni 5, 08100 Nuoro phone 3290716104

ATTENZIONE!!! Versione inglese

ISBN 978-88-6202-051-0

9 788862 020510