ANDREA BRANZI INTERIORS
FRIEDMAN BENDA 515 WEST 26TH STREET NEW YORK NY 10001
INTERIORS
Design culture has long remained linked to twentieth century codifications and the myth of the industrialization of human space; codifications that were based on geometries and materials functional for mass production. In the twenty-first century this dogma has begun to show cracks, and the difference between mass-produced objects and unique pieces, between machine made items and handmade artefacts, is not so important — what matters is their ability to create an emotion, without any fear of commingling with art and nature. The loneliness of contemporary design, isolated from the creative activities that surround it, is a mindset that must be broken; new aesthetics, new materials, and an entirely new dramaturgy are pressing to renew the human habitat. Classical Modernity has remained indifferent to the tragic events that have marked the twentieth century: two world wars, mass exterminations, atomic conflicts, the great left-wing and right-wing dictatorships; this indifference to Real History in favor of the History of Discipline must now be left behind. According to tradition, the difference between art and design is that art cannot be touched, while design is meant to deal only with functional mass-produced objects; when these conventions are obeyed, the human habitat is impoverished and shies away from new experiences.
Interiors seeks to overcome these limitations by using art for its application possibilities, and design to create artistic objects. The twenty-first century teaches us that in the world of design the restrictions imposed by tradition must be overcome, following the transformations that characterize our society, where boundaries are blurred and everything is intermingling and expanding.
Objects have always been “living” presences in the human habitat; presences with which, since the dawn of time, we have established complex relationships of a psychological, symbolic, and poetic nature: in this sense, objects are never just simple tools, they are fragments of an anthropological universe, a universe at the same time material and immaterial, functional and superfluous, about which we still know very little. Design objects are the result of the artistic use of technology, and the technical use of art, and for this reason they are always mysterious presences, sometimes indispensable and sometimes unnecessary; yet in the history of the world no two design objects have ever been identical. In our product-oriented civilization, the ungovernable flow of industrial objects, so transferable, so exportable, so transient, has transformed our cities into virtually boundless areas of exchanges, information, and trade. It is safe to say that if in the past the city could be defined as a stage for architecture, it is now a “personal computer every twenty square meters.” Our space is crisscrossed by a stream of relationships produced by the seven billion people inhabiting the planet, each one representing an exception, a variant, a personality that affirms its exclusivity through the objects it chooses to be surrounded with. For this reason, objects have become a presence that is sacred because it is linked to the sacredness of man: they continue to live beyond the scope and time of their daily use. They have no knowledge of the night because in the night they survive, unmoving, unchanging, alive even after their own death. Andrea Branzi Milan, 2016
INTERIORS
La cultura del progetto è rimasta a lungo legata ai codici del XX secolo e al mito dell’industrializzazione dello spazio umano; codici che facevano riferimento a geometrie e a materiali funzionali alla produzione di serie. Nel XXI secolo questo dogma comincia a incrinarsi e la differenza tra oggetti di serie e oggetti unici, fatti a macchina o fatti a mano, non è così importante; ciò che conta è la loro capacità di creare una emozione, senza timore di contaminarsi con la natura e con l’arte. La solitudine del progetto contemporaneo, lontano dalle attività creative che lo circondano, deve essere interrotta; nuove estetiche, nuove drammaturgie, nuovi materiali, premono per rinnovare l’habitat umano. La Modernità Classica è rimasta indifferente ai tragici eventi che hanno segnato il XX secolo: due Guerre Mondiali, lo sterminio di massa, i conflitti atomici, le grandi dittature di destra e di sinistra; questa indifferenza verso la Storia Reale a favore della Storia della Disciplina, oggi deve essere superata. Secondo la tradizione la differenza tra l’Arte e il Design consiste nel fatto che è proibito toccare l’Arte, mentre il Design deve occuparsi soltanto di oggetti funzionali e prodotti in serie; secondo queste convenzioni l’habitat umano si impoverisce e rinuncia a affrontare nuove esperienze.
Interiors cerca di superare questi limiti e usa l’Arte per le sue possibilità d’uso, e il Design per realizzare oggetti artistici. Il XXI secolo ci insegna che nel mondo del progetto i limiti della tradizione devono essere superati, seguendo quelle trasformazioni che caratterizzano la nostra società, dove tutto si contamina e si espande.
Gli oggetti sono sempre state presenze “vive” dell’habitat umano; presenze con cui, da sempre, noi stabiliamo relazioni complesse, psicologiche, simboliche, poetiche: in questo senso gli oggetti non sono mai semplici strumenti, ma frammenti di un universo antropologico, materiale e immateriale, funzionale o superfluo, di cui ancora sappiamo poco. Gli oggetti di design nascono dall’uso artistico della tecnologia, e dall’uso tecnico dell’arte, e per questo motivo essi sono sempre presenze misteriose, a volte indispensabili e a volte inutili; ma nella storia del mondo non sono mai esistiti due oggetti di design uguali tra di loro. Nella nostra Civiltà Merceologica il flusso ingovernabile degli oggetti industriali, così trasferibili, esportabili, provvisori, hanno trasformato le nostre città in territori illimitati di scambi, informazioni, commerci. Possiamo dire che se un tempo la città poteva essere definita come il teatro dell’architettura, oggi essa è costituita da “un p.c. ogni 20mq.” Il nostro spazio è attraversato da un flusso di relazioni, prodotte dai sette miliardi di persone che abitano il nostro pianeta, ognuna di queste rappresenta una eccezione, una variante, una personalità che afferma la propria unicità attraverso la selezione degli oggetti che la circondano. Per questo motivo gli oggetti sono diventati una presenza sacra perché legata alla sacralità dell’uomo: essi continuano a vivere oltre i tempi del loro uso quotidiano. Non conoscono la notte perchè nella notte sopravvivono immobili a se stessi. Andrea Branzi Milano, 2016
“Utopia” Sculptural Bookcase, Andrea Branzi with Alchimia, 1980
“Adalberto Libera” Bookcase, Andrea Branzi with Alchimia, 1979
“Animali Domestici” Bench, 1985
Installation view: Pleased to meet you. 50 ans de création, Musée des Arts Décoratifs, Bordeaux, 2014 - 2015
Installation view: Trees & Stones, Friedman Benda, New York, 2012
Installation view: Open Enclosures, Fondation Cartier, Paris, 2008
PLANKS
Plank Cabinet 1, 2014 Patinated and polished aluminum, wood and spray paint 63 x 110.25 x 13.75 inches 160 x 280 x 34.9 cm Edition of 12 13
Plank Cabinet 2, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 94.5 x 13.75 inches 180 x 240 x 35 cm Edition of 12 15
Plank Cabinet 3, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 86.5 x 13.75 inches 180 x 220 x 35 cm Edition of 12 17
Plank Cabinet 4, 2014 Patinated and polished aluminum, wood and spray paint 67 x 94.5 x 13.75 inches 170 x 240 x 35 cm Edition of 12 19
Plank Cabinet 5, 2014 Patinated and polished aluminum, patinated bronze, wood and spray paint 63.25 x 110.25 x 13.75 inches 161 x 280 x 35 cm Edition of 12 21
Plank Cabinet 6, 2015 Patinated and polished aluminum, wood and spray paint 63 x 94.5 x 17.75 inches 160 x 240 x 45.1 cm Edition of 12 23
Plank Cabinet 7, 2014 Patinated and polished aluminum, polished bronze, wood and spray paint 63 x 110.5 x 17.75 inches 160 x 280 x 45.1 cm Edition of 12 25
Plank Cabinet 8, 2014 Patinated and polished aluminum, wood and spray paint 63.25 x 110.25 x 19.75 inches 161 x 280 x 50 cm Edition of 12 27
Top: Plank Cabinet 12A, 2014 Patinated aluminum, wood and spray paint 19.75 x 39.25 x 13.75 inches 50 x 100 x 35 cm Edition of 12 Bottom: Plank Cabinet 12C, 2014 Patinated aluminum, wood and spray paint 19.75 x 78.75 x 13.75 inches 50 x 200 x 35 cm Edition of 12 29
Plank Cabinet 12B, 2014 Patinated aluminum, wood and spray paint 19.75 x 59 x 13.75 inches 50 x 150 x 35 cm Edition of 12 31
LAMPS
Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12 35
Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12 37
Lamp, 2014 Japanese rice paper, bamboo, marble 84 x 49 x 49 inches 213.4 x 124.5 x 124.5 cm Edition of 12 39
Lamp, 2014 Japanese rice paper, aluminum 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12 41
Lamp, 2014 Japanese rice paper, aluminum 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12 43
Lamp, 2014 Japanese rice paper, bamboo, marble 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12 45
TREES
Tree 1, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12 49
Tree 1B, 2011 Wood and patinated aluminum 68 x 150 x 23.5 inches 172.7 x 381 x 59.7 cm Edition of 12 51
Tree 2, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12 53
Tree 3, 2010 Wood and patinated aluminum 31.5 x 64.96 x 10.63 inches 80 x 165 x 27 cm Edition of 12 55
Tree 4, 2010 Wood and patinated aluminum 43.31 x 98.43 x 10.63 inches 110 x 250 x 27 cm Edition of 12 57
Tree 5, 2010 Wood and polished aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12 59
Tree 5, 2010 Wood and patinated aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12 61
Tree 6, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12 63
Tree 6B, 2011 Wood and patinated aluminum 53.15 x 118.11 x 15.75 inches 135 x 300 x 40 cm Edition of 12 65
Tree 7, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12 67
Tree 8, 2010 Wood and patinated aluminum 80.71 x 55.12 x 13.78 inches 205 x 140 x 35 cm Edition of 12 69
Tree 9, 2010 Wood and patinated aluminum 99.21 x 55.12 x 13.78 inches 252 x 140 x 35 cm Edition of 12 71
Tree 9B, 2011 Wood and patinated aluminum 65 x 142 x 15.75 inches 165.1 x 360.7 x 40 cm Edition of 12 73
STONES
Stones 2A, 2011 Stones and patinated aluminum 47.24 x 55.12 x 10.63 inches 120 x 140 x 27 cm Edition of 12 77
Stones 7A, 2011 Stones and patinated aluminum 88 x 118 x 15.75 inches 223.5 x 299.7 x 40 cm Edition of 12 79
LIST OF WORKS
Plank Cabinet 1, 2014 Patinated and polished aluminum, wood and spray paint 63 x 110.25x 13.75 inches 160 x 280 x 34.9 cm Edition of 12
Plank Cabinet 2, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 94.5x 13.75 inches 180 x 240 x 35 cm Edition of 12
Plank Cabinet 3, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 86.5x 13.75 inches 180 x 220 x 35 cm Edition of 12
Plank Cabinet 4, 2014 Patinated and polished aluminum, wood and spray paint 67 x 94.5 x 13.75 inches 170 x 240 x 35 cm Edition of 12
Page 13
Page 15
Page 17
Page 19
Plank Cabinet 5, 2014 Patinated and polished aluminum, patinated bronze, wood and spray paint 63.25 x 110.25 x 13.75 inches 161 x 280 x 35 cm Edition of 12
Plank Cabinet 6, 2015 Patinated and polished aluminum, wood and spray paint 63 x 94.5 x 17.75 inches 160 x 240 x 45.1 cm Edition of 12
Plank Cabinet 7, 2014 Patinated and polished aluminum, polished bronze, wood and spray paint 63 x 110.5 x 17.75 inches 160 x 280 x 45.1 cm Edition of 12
Plank Cabinet 8, 2014 Patinated and polished aluminum, wood and spray paint 63.25 x 110.25 x 19.75 inches 161 x 280 x 50 cm Edition of 12
Page 21
Page 23
Page 25
Page 27
Plank Cabinet 12B, 2014 Patinated aluminum, wood and spray paint 19.75 x 59 x 13.75 inches 50 x 150 x 35 cm Edition of 12
Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12
Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12
Page 31
Page 35
Page 37
Top: Plank Cabinet 12A, 2014 Patinated aluminum, wood and spray paint 19.75 x 39.25 x 13.75 inches 50 x 100 x 35 cm Edition of 12 Bottom: Plank Cabinet 12C, 2014 Patinated aluminum, wood and spray paint 19.75 x 78.75 x 13.75 inches 50 x 200 x 35 cm Edition of 12 Page 29
Lamp, 2014 Japanese rice paper, bamboo, marble 84 x 49 x 49 inches 213.4 x 124.5 x 124.5 cm Edition of 12
Lamp, 2014 Japanese rice paper, aluminum 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12
Lamp, 2014 Japanese rice paper, aluminum 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12
Lamp, 2014 Japanese rice paper, bamboo, marble 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12
Page 39
Page 41
Page 43
Page 45
Tree 1, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12
Tree 1B, 2011 Wood and patinated aluminum 68 x 150 x 23.5 inches 172.7 x 381 x 59.7 cm Edition of 12
Tree 2, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12
Tree 3, 2010 Wood and patinated aluminum 31.5 x 64.96 x 10.63 inches 80 x 165 x 27 cm Edition of 12
Page 49
Page 51
Page 53
Page 55
Tree 4, 2010 Wood and patinated aluminum 43.31 x 98.43 x 10.63 inches 110 x 250 x 27 cm Edition of 12
Tree 5, 2010 Wood and polished aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12
Tree 5, 2010 Wood and patinated aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12
Tree 6, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12
Page 57
Page 59
Page 61
Page 63
Tree 6B, 2011 Wood and patinated aluminum 53.15 x 118.11 x 15.75 inches 135 x 300 x 40 cm Edition of 12
Tree 7, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12
Tree 8, 2010 Wood and patinated aluminum 80.71 x 55.12 x 13.78 inches 205 x 140 x 35 cm Edition of 12
Tree 9, 2010 Wood and patinated aluminum 99.21 x 55.12 x 13.78 inches 252 x 140 x 35 cm Edition of 12
Page 65
Page 67
Page 69
Page 71
Tree 9B, 2011 Wood and patinated aluminum 65 x 142 x 15.75 inches 165.1 x 360.7 x 40 cm Edition of 12
Stones 2A, 2011 Stones and patinated aluminum 47.24 x 55.12 x 10.63 inches 120 x 140 x 27 cm Edition of 12
Stones 7A, 2011 Stones and patinated aluminum 88 x 118 x 15.75 inches 223.5 x 299.7 x 40 cm Edition of 12
Page 73
Page 77
Page 79
ANDREA BRANZI Present
Lives and works in Milan, Italy Professor of industrial design at the Politecnico di Milano University, Milan, Italy
2008
Named an Honorary Royal Designer in the United Kingdom
1996
Director of Italian design exhibition at Milan Triennial
1991-1995
Guest professor at universities of Palermo and Milan
1988
Awarded first prize, International Competition for Development of the Berlin Wall Area
1987
Awarded second Compasso d’oro for individual body of work
1983
Co-founder of the Domus Academy, Milan, Italy
1982
Opens his own studio in Milan
1979
Awarded Compasso d’oro, with Massimo Morozzi and Clino Trini Castelli
1974
Archizoom Associati disbands
1973
Relocates to Milan
1966
Degree from Florence School of Architecture, Florence, Italy Started working in the fields of industrial and research design
1964
Founded Archizoom Associati with Paolo Deganello, Massimo Morozzi and Gilberto Coretti
1938
Born, Florence, Italy
SELECT SOLO EXHIBITIONS 2017
Centre Pompidou, Paris
2016
Andrea Branzi: Interiors, Friedman Benda, New York, NY
2014-2015
Andrea Branzi: Pleased to meet you. 50 ans de création. Musée des Arts décoratifs, Bordeaux, France
2013
Oggeti, Territori, Volatili, Isabella Bortolozzi, Berlin, Germany
2012
Andrea Branzi: Trees & Stones, Friedman Benda, New York, NY The Ceramics of Andrea Branzi, Trienniale Design Café, Milan, Italy Objects and Territories. deSingel International Arts Campus and Vlaams Architectuurinstituut, Antwerp, Belgium Andrea Branzi: Trees, Carpenters Workshop Gallery, Paris, France
2009-2010
Grandi Legni, Azzedine Alaia Gallery, Paris, France
2008
Open Enclosures, Fondation Cartier, Paris, France
2000
Objects and Territories, Cultural Center Scharpoord, Knokke; Architecture Society of Brussels, Belgium
Età del Bronzo, Design Gallery Milan, Italy 1999
Centro per l’arte contemporanea in Ceramica, Modena, Italy
1998
Passaggi, Design Gallery Milano, Milan, Italy Silver and Gold, Argentaurum Gallery, Museum of Arts and Crafts, Ghent, Belgium
1997
Fuzzy Design, Design Gallery Milano, Milan, Italy Wood & Stones, Argentaurum Gallery at Galleria Seno, Milan, Italy
1996
Wireless, Design Gallery Milano, Milan, Italy Wood & Stones, Argentaurum Gallery, Knokke, Belgium
1994
Archivi militanti, Galleria Colombari, Milan, Italy Galleria Niccoli, Parma, Italy Showroom Erregi, Parma, Italy
1992
Luoghi, Design Gallery Milano, Milan, Italy
1991
Musée des Arts Décoratifs, Montreal, Canada
Amnesie, Design Gallery Milan, Italy Gallery Objecte, Munich, Germany 1989
Fort Asperen, Holland
1988
Centre Cayc, Buenos Aires, Argentina Musée des Arts Dècoratifs, Paris, France Tokyo Design Agency, Tokyo, Japan
1986
Il grande tappeto ibrido, Installation, Musée Saint Pierre, Lyon, France Case a Pianta Centrale, Documenta, Kassel, Germany
1985
Exhibition products designed for Memphis at Seibu Department Store, Tokyo, Japan
1982
Mussolini’s Bathroom, Installation at Centro Domus, Milan, Italy
1978
Interno urbanistico, Palazzo dei Diamanti, Ferrara, Italy 1 Museo d’Arte Moderna di Modena, Italy
1972
Come e fatto il cappotto di Gogol, film, with Archizoom Associati. Italy
1969
RAI Stand, with Archizoom Associati. Fiera dell’Elettronica, Rome, Italy Vestirsi e facile film, with Archizoom Associati. Italy
1968
Gazebo e stance vuote, with Archizoom Associati. Mana Art Market Gallery, Rome, Italy
1967
Superarchitettura, with Archizoom Associati. Galleria Comunale, Modena, Italy Centro di cospirazione eclettica, with Archizoom Associati. Installation at Poltronova, Pistoia, and 14th Triennale di Milano, Milan, Italy
1966
Superarchitettura, with Archizoom Associati. Galleria Jolly, Pistoia, Italy Musée des Arts Dècoratifs, Paris, France Tokyo Design Agency, Tokyo, Japan
1986
Il grande tappeto ibrido, Installation, Musée Saint Pierre, Lyon, France Case a Pianta Centrale, Documenta, Kassel, Germany
1985
Exhibition products designed for Memphis at Seibu Department Store, Tokyo, Japan
1982
Mussolini’s Bathroom, Installation at Centro Domus, Milan, Italy
1978
Interno urbanistico, Palazzo dei Diamanti, Ferrara, Italy Assenza-Presenza nell’architettura moderna, Museo d’Arte Moderna di Modena, Italy
1972
Come e fatto il cappotto di Gogol, film, with Archizoom Associati. Italy
1969
RAI Stand, with Archizoom Associati. Fiera dell’Elettronica, Rome, Italy Vestirsi e facile, film, with Archizoom Associati. Italy
1968
Gazebo e stance vuote, with Archizoom Associati. Mana Art Market Gallery, Rome, Italy
1967
Superarchitettura, with Archizoom Associati. Galleria Comunale, Modena, Italy Centro di cospirazione eclettica, with Archizoom Associati. Installation at Poltronova, Pistoia, and 14th Triennale di Milano, Milan, Italy
1966
Superarchitettura, with Archizoom Associati. Galleria Jolly, Pistoia, Italy
SELECT GROUP EXHIBITIONS 2012
Mutatis Mutandis, The Secession, Vienna, Austria
2010
People Meet in Architecture, 12th International Architecture Biennale, Venice, Italy
2003
Blossoming the Gap, with Ronan and Erwan Bouroullec. Studio Rendl & Spitz, Cologne, Germany
2001
Italia Giappone: Design come stile di vita, 2001 Italia in Giappone, Yokohama and Kobe, Japan
1997
No-Stop-City, Documenta X, Kassel, Germany
1996
Il Design Italiano dal 1964 al 1972, Electa, Triennale di Milano, Milan, Italy
1995
Abitare il Tempo, Verona, Italy 6th Bienal Internacional de Arquitectura de Buenos Aires, Argentina Oro d’Autore, Arezzo, Italy
Italian Metamorphosis, Guggenheim Museum in New York, NY
1993
Citizen Office, Vitra Museum, Weil am Rhein, Germany
1992
18th Triennale di Milano, Milan, Italy
1991
Camere con vista, Abitare il tempo, Verona, Italy Il Dolce Stil Novo della Casa, Palazzo Strozzi, Florence, Italy Il design Italiano, At Mitsubishi co., Tokyo, Japan
1990
Les Capitales Europèennes du Nouveau Design: Barcelone, Düsseldorf, Milan, Paris. Centre Georges Pompidou, Paris, France; and Kunstmuseum, Düsseldorf, Germany
1989
Yatai, International Expo, Nagoya, Japan
1986
La Casa Telecomandata, 17th Triennale di Milano, Milan, Italy
1984
Biennale di Venezia, Magazzini del Sale, Venice, Italy
1980
Record e Paradiso, San Lorenzo Church, Biennale di Venezia, Venice, Italy
1979
16th Triennale di Milano, Milan, Italy
In mostra, Galleria Zen Italiana, Naples, Italy 1978
Biennale di Venezia, Venice, Italy
Global Eye ‘78, 7 new design towers, Tokyo, Japan 1977
Il Design italiano degli anni ‘50, Centrokappa in Noviglio, Milan, Italy
1975
Decorattivo, Fiera di Milano, Milan, Italy A proposito del Mulino Stucky, Biennale di Venezia, Venice, Italy
1973
L’invenzione della superficie neutra, Abet Print, Archizoom Associati, Florence, Italy
1972
Come è fatto il cappotto di Gogol, Film. 14th Triennale di Milano, Milan, Italy Italy: the new Domestic Landscape, Museum of Modern Art, New York, NY
1971
Biennale dei Giovani, Paris, France
1970
Eurodomus, Turin, Italy Print Enviroment, Paris, France
AWARDS 2008
Laurea Honoris Causa in Design, Università “la Sapienza,” Rome
1997
First prize, Pirelli Energy competition
1996
First Prize, IF
1995
Compasso d’Oro Award
1994
Special Mention of European Design Prize
1991
Baden Wüttemberg Award
1989
Robert Maxwell Prize at Royal College of Art, London for the essay Seven Theses on Design
1987
Career Compasso d’Oro Award as designer and theorist
1983
International Award at First Biennial of Design, Buenos Aires, Argentina Honorable mention at Compasso d’Oro
1979
Compasso d’Oro Award
1969
Silver medal, Yamagiwa competition for light design, Tokyo, Japan
SELECT PUBLIC COLLECTIONS Brooklyn Museum, New York, NY Centre Georges Pompidou, Paris, France Centro Studi e Archivio della Comunicazione dell’Università di Parma, Parma, Italy Design Museum Gent, Gent, Belgium Denver Museum of Art, Denver, CO Fondation Cartier pour l’art contemporain, Paris, France Groninger Museum, Groningen, The Netherlands Le Fonds Régional d’art contemporain, Orleans, France Houston Museum of Fine Arts, Houston, TX Israel Museum, Jerusalem, Israel Museum of Modern Art, New York, NY Musée des Beaux-Arts, Montreal, Canada Musée des Arts décoratifs, Paris, France Victoria & Albert Museum, London, UK Vitra Design Museum, Weil-am-Rhein, Germany
SELECT LITERATURE Ambasz, Emilio. Italy, the New Domestic Landscape: Achievements and problems of Italian Design. New York: Museum of Modern Art, 1972. Branzi, Andrea. The Hot House, Italian New Wave Design. Massachusetts: M.I.T. Press, 1984. ______. No-Stop City: Archizoom Associati, Edition HYX, 2006. ______. Things, Thoughts, & Territories, Gent: Casa Argentaurum, 2010. ______. Learning from Milan. Massachusetts: M.I.T. Press, 1988. ______. Weak and Diffuse Modernity: The World of Projects at the Beginning of the 21st Century. SKIRA, 2006. Branzi, Andrea and Nicoletta Branzi. Domestic Animals: The Neoprimitive Style. Thames & Hudson, 1987.
Burkhardt, Francois. Branzi. Edition Dis Voir, 1997. Burkhardt, François and Gianni Vattimo, et al. Formes des Métropoles - Nouveaux Designs en Europe. Paris: Centre Georges Pompidou, 1991. Cannata, Giuliano, Carla Corsi, Franco Lani, Roberto Maestro, and Norberto Liberatori. Arezzo, verso un inur
bamento maturo, Italy: Comune di Arezzo, Dipartimento Assetto del Territorio, 1992. Celant, Germano. Luoghi Andrea Branzi; The Complete Works. New York: Rizzoli International, 1992. Crusinallo, Alessi. Il Dolce Stil Novo (della Casa). Italy: Palazzo Strozzi for Pitti Immagine Casa, 1991. De Montis, T. V. Russo, S. Balestrazzi, and Andrea Branzi. Architetture. Italy: Batei, 1994. Gries, Patrick. Andrea Branzi: Open Enclosures. Paris: Fondation Cartier pour l’art contemporain, 2008. Hiesenger, Kathy, et al. Design Since 1945, Philadelphia: Philadelphia Museum of Art, 1983. Isozaki, Arata. La Casa Calda - Esperienze del Nuovo Design Italiano. Italy: Idea Books; Massachusetts: M.I.T. Press; England: Thames and Hudson; and France: L’Equerre, 1984. Jenks, Charles. “The Supersensualists II: Death.” In Late Modern Architecture. London: Academy Edition, 1974. ______. Modern Movements in Architecture. London: Penguin Books, 1973. Rubini, Constance. Andrea Branzi: objets et territroires; Designer, Architect, 50 Years of Creation, Paris: Éditions Gallimard: Alternatives, 2014.
La civiltà dell’ascolto - e altre note sul Giappone moderno. Italy: Cronopio, 1992. Animali Domestici. Italy: Idea Books, 1986. Il Dibattito Architettonico in Italia dal 1945 al 1975. Rome: Bulzoni, 1977.
Installation view: Interiors, Friedman Benda, New York, NY, 2016.
ANDREA BRANZI INTERIORS Unless otherwise noted, all images are courtesy of Friedman Benda and Andrea Branzi. Design: Olivia Swider Photography 1. Utopia, a sculptural bookcase is courtesy of Private Collection Photo, copyright Christie’s Images/Bridgeman Images. 2. Animali Domestici Bench is courtesy of Phillips/Phillips.com. 3. Installation view of Pleased to meet you. 50 ans de création is courtesy of the artist and the Musée des Arts Décoratifs, Bordeaux. 4. Installation view of Open Enclosures is courtesy of the artist and Fondation Cartier, Paris. 5. All photographs of Planks, Lamps and installation views of Interiors taken by Adam Reich. 6. Photographs of Tree 1, Tree 3, Tree 4, Tree 5 (polished), Tree 8, and Tree 9 taken by Aiga Ozolina, courtesy of Carpenter’s Workshop Gallery and Some/Things Agency; Tree 6B and Tree 9B taken by Adrian Millot, courtesy of Carpenter’s Workshop Gallery. 7. Photographs of Tree 2, Tree 6, Stones 2A and installation view of Trees and Stones, 2012 are taken by Jon Lam photography. 8. Photograph of Tree 7 is by Erik and Petra Hesmerg. 9. Portrait of Andrea Branzi by Rafael Herman.
Published by Friedman Benda 515 West 26th Street New York, NY 10001 Tel. + 1 212 239 8700 www.friedmanbenda.com Printing: Puritan Press Content copyright of Friedman Benda and the artist. Printed on the occasion of the exhibition Interiors, May 5 - June 11, 2016. Printed in a limited edition of 250.