industria niccolò biddau
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DESCRIPTIONINDUSTRIA niccolò biddau
ON VIEW NOVEMBER 29, 2013 - JANUARY 6, 2014
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PHOTOGRAPHY AND INDUSTRY AT THE TRIENNALE DI MILANO p. 1
THE AESTHETICS OF TECHNOLOGY
BY NICCOLÒ BIDDAU p. 3
THE MITH OF THE MACHINE
BY PHILIPPE DAVERIO p. 5
THE FORMAL REQUIREMENT
BY CHRISTIAN CAUJOLLE p. 5
REALITY AND UNCONSCIOUS IN THE PHOTOGRAPHY OF NICCOLÒ BIDDAU
BY GIAN PAOLO CAPRETTINI p. 7
SCENARIOS OF MADE IN ITALY
BY SUSANNA LEGRENZI p. 10
THE COMPANIES p. 12
PRESS IMAGES p. 13
NICCOLÒ BIDDAU p. 14
PRACTICAL INFORMATION p. 16
PARTNERS p. 17
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PHOTOGRAPHY AND INDUSTRY AT THETRIENNALE DI MILANO
From 29 November 2013 to 6 January 2014 the
Triennale di Milano hosts the project INDUSTRIA by
Niccolò Biddau, on view for the first time.
The exhibition presents to the public 30
printed photographs and more than 200
photos projected by video by the
photographer Niccolò Biddau. They have
been taken by the author during
numerous campaigns at the most
prestigious Italian companies; Alessi,
Borsalino, Pirelli, FIAT, Campagnolo,
Italcementi, Campari, Dalmine, Marzotto,
Missoni, Corneliani, Menabrea, Cassina,
Zanotta, Mediaset, Mondadori, Telecom
Italian … and many more.
The Triennale di Milano presents the photographic exhibition INDUSTRIA by Niccolò Biddau,
with the support of TenarisDalmine, Lanfranchi and Guala Closures and in collaboration with
Fondazione Dalmine, under the patronage of Museimpresa. Technical Sponsors: Berlucchi,
Discipline and Firenet Ltd. Media Partner: Zoom.
30 photographs in black and white, printed in a large size, over 200 photos projected by
video and important critical contributions will translate the “voyage” through Italian industry by
the photographer into a journey in highly evocative images. A discovery of Italian industry which
surprised the protagonists themselves and which has earned Niccolò Biddau many awards,
including the first prize of the Black and White Spider Awards of Los Angeles (USA).
An opportunity to get closer to the industrial world in a completely new and original way.
This is the main aim of the photography campains dedicated to Italian industry, recounted by
With alert eyes and attention to detail, Biddau gives us a “behind the scenes” look at the
complex industrial machine that watches over the production of objects and manufactured
articles, the pride and joy of “Made in Italy”.
TENARISDALMINE. Steelworks: hot bars on continuous casting machine.
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With a very personal interpretative language developed over years spent in industrial facilities,
the author celebrates all forms of industrial production. Italian expertise, so admired around
the world, is narrated every step of the way with unusual shots that strongly evoke the intense
productive life behind each finished product.
In some cases, we are unexpectedly captivated and mesmerised by the intense scrutiny placed
on the material of a component, on the light that
passes through it or its complex shape.
Structured architectures and transversal cuts, a
series of objects or objects that appear to be
suspended in the shot like in one the most modern
figurative compositions: the language varies and
everything is captured in invigorating white and
black, which sometimes emphasises the empty
spaces and sometimes the full spaces, sometimes
the fluids and other times the solids.
The promotion of a company through this kind of communication process is certainly a new and
sophisticated way to spread knowledge of the great Italian manufacturing system.
The photographs are exhibited in a thematic route organised in five sections; the object seen
from close at hand and mass production; People: extreme technology and manual skills;
Industrial architectures; facilities and production lines; the 20th vs. the 21st century; the
factory against the robots; The shapes that return; the recognisable and the unrecognisable.
To take his photographs, he works in analogue, using a medium-sized camera and a low-
sensitivity film. He believes that the plasticity of shapes, the planes and depths still remain
greatly linked to the negative. He only works with the ambient light and shoots only when he
finds the optimum point of balance. Absolute black and shades of grey allow him to set a
challenge each time, which at times can be extreme.
The photographs on display are fine art prints on fibre base paper, in a passepartout frame for
conservation purposes. The size of the frame is: 100 x 80 cm.
A high definition colour film by Giovannij Lucci relates, through the accounts of entrepreneurs,
critics and the photographer himself, the genesis of the project and how it came into being. In
addition, the “behind the scenes” will document the story of some of the photos on display,
revealing further behind-the-scenes-activity and impressions. This way the visitor will be able to
understand emotionally the narrative structure of the route.
The exhibition is accompanied by critical texts by the photo critic Christian Caujolle, the journalist
and independent curator Susanna Legrenzi and the semiologist Paolo Caprettini.
GUALA CLOSURES. Safety closures for alcoholic beverages.
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THE AESTHETICS OF TECHNOLOGYBY NICCOLÒ BIDDAU
As a photographer, I have spent several years visiting numerous Italian factories in search of
shots that capture the true character of industry: strong, hardworking, full of ideas and
enhanced by design. The beauty of the industrial plants and manufactured products during the
production phases never ceases to amaze and fascinate me.
I have always been interested in giving people a “behind the scenes” look at industrial production
through an interpretative photographic language. My photos aim at placing everyday objects
in the centre of the photograph without, however, excluding the human presence, but giving
symbolic meaning to individuals who are generally only considered for their functionality of use.
My intention was never to bring a documentary style to the images, but to search for carriers
of emotions and information. I wanted to give an overall view of the Italian industrial world that
also took into consideration its various relationships. I concentrated on achieving a balance
between my inner vision and that of the company. This called for total dedication and a good
deal of flexibility, which were necessary for relating to the photos in the most innovative way
possible. Of course, I translated my idea, my vision, trying to interpret what Italian industry is
today and what it will be in the medium term.
PIRELLI. After the curing process, the tyres are sent to the Finishing Area for a final quality check.
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The work was organised into studies and analyses developed through a series of photographic
campaigns that focused on companies in all industries. I first tried to get an overall picture of
the environments and their complexity, then I found some structured microsystems for
establishing the cardinal points. Next I formed
conceptual “islands” made up of extremely
representative guide images that acted as a
synthesis for narrating the story.
A special and intrinsic aspect of the photo is
inserted in this narration since it develops on the
dualism of positive and negative, when a
photographer takes a photo he sees a part of
reality and erases the rest. Hence the
importance of finding the right photo and its
placement in a precise point of the path. This helps us to read and better understand a
particular moment in time and space of the narrative as a whole.
The photographic campaign was exposed to many different stimuli. However, casualness also
played an important role, so finding an “industrial composition” helped me to create a new
association or to embark on a new path. Another important element is
the knowledge of different fields and their representation. This balance is often built on very
small facts, which I had to deal with constantly.
This process allowed me to gradually compose new concepts which began to interact with each
other, thus forming a completely homogeneous picture.
I have always been attracted by the fascination emanating from spaces and volumes when
they are crossed, cut, shaped by effects of light, shadows and shadings. A world that I
began to perceive in black and white and that became my interpretive language.
I love depicting a company’s place as an extremely attractive container: a place of art, an
expression of modernity, an outpost where creativity, technology and new humanism merge
CORNELIANI. Handmade finishing detail.
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THE MYTH OF THE MACHINEBY PHILIPPE DAVERIO
The myth of the machine is a stable myth of modernity i.e. a myth that appears as
soon as modernity appears in its complete expression in the world we live. It gained
public interest at the beginning of the twenties when some artists interpreted this
myth and became Cubists or post-Cubists because they wanted to find inspirations in
the machine that the world had not seen before.
However, the myth of the machine evolved. Up until that time it was also associated
with noise, smells and fumes, while the current meaning makes the myth of the
machine become abstract. It is now a myth where clean air and perfect limpidity of
the systems have created a new language.
How can you define Biddau’s work? It is like a game for the eyes, played inside the
myth of the machine as it appears today, where everything is orderly and tidy, where
everything is clean, where everything leads to discovering a world that is totally
unexpected: the very architecture of the production system.
CAMPARI. Camparisoda bottles designed by Fortunato Depero in 1932.
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A close-up look at some bottles, a punching machine, and a series of industrial
elements placed in a row, reveals a completely architectural conception of the world
of manufacturing. And he guides the eyes in an absolutely schizophrenic way: from
assemblies sometimes reordered inside the
scheme of the image to the details, where
every single detail represents its ability to be
the material, to be the shape and to “shape
In this well-ordered industrial world,
unordered objects also take on a different
value: an accumulated zip can appear to be a
snake, but is described with perfect precision
and therefore its description also matches
that of a series of hanging sausages, because all the objects are there, not at the time
of consumption, but at the time of their birth. It is a sort of perfectly ordered
primordial womb, perfectly clean and perfectly enshrined within its orthogonal lines,
which is the clean industrial world that we see today.
And finally, there is a magical quality. Industry is clean, the machine is extremely
precise, the use of black and white makes everything look more real than colour
which always falsifies the dimensions in an unexpected fantasy. But there is a secret:
the eye of who is behind the machine and the eye of the photo.
Another intriguing point: photography, by its nature, always gives rise to a
misunderstanding because it transforms a long existence into an instant. The only
photography that is able to represent reality is still life. And here the industrial
pieces are looked at exactly as if they were still lives; they are static and, by
capturing their static nature, photography makes them eternal.
LANFRANCHI. Elements attached in continuous chain.
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THE FORMAL REQUIREMENTBY CHRISTIAN CAUJOLLE
The failure to appreciate so-called “applied photography” and the refusal to recognise the
originality of numerous artists who have worked in fields such as advertising portraits or still-
life photos, effectively means not appreciating a large part of photography. It’s as if art was on
one side and business on the other, as if from the Renaissance period onwards these two
sectors led separate lives, entertaining relationships that were sometimes complex and
contradictory but always characterised by an interdependence that generated masterpieces.
The industrial world, a very specific sector, has often been overlooked. Yet today, following the
operation to finally rescue various photographic collections – following the loss of numerous
photographic archives and collections due to neglect – we come to realise that many
companies, large or small, have preserved rare and sometimes important photographic
campaigns. Such as those that illustrate and document foundries, iron and steel companies,
mechanical companies, the chemical industry, textile industry and food industry through the
scenarios that place them in a particular context.
In literature on the history of photography this “new vision” started to gain importance in the
1920s, when German, Italian, Russian and American creative minds used risky shots, breath-
ALESSI. Assembly of kettle with bird whistle, design by Michael Graves.
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taking low-angle and high-angle shots and an incredible sense of detail to portray steel, cement
and glass, as well as the most modern construction techniques.
It is no coincidence that one of the most beautiful books by Germaine Krull is entitled “Métal”,
or that an artist like Renger-Patzsch with his work
on the structure of plants changed our view of the
world. Consideration should also be given to the
undervalued work by Czech photographer Josef
Sudek who, in addition to his famous romantic still-
life photos of glass, “Magic Garden” or “Labyrinths
of My Studio”, also created beautiful advertising
compositions of plates, cups and other porcelain
objects arranged, framed, highlighted and
caressed by light.
I mention these references because Niccolò Biddau is part of this tradition.
A tradition characterised by an irreproachable formal requirement, by the framing and
relationship with forms, by the image that affirms its originality, by light and shapes in their
This requirement comes from the love for the materials and volumes of the objects and at the
same time from the search for the structure (fundamental and not often visible) and from those
who make these objects.
The subtlety and precision of the approach naturally converses with excellence, with a special
attention to beauty, but also with lesser-known industrial areas.
The choice of black and white, the need for an image that has been designed and constructed
without gratuitous romanticism or decorative frills, highlights what is at the very heart of reality
and what can never be reached. There is an obstinate desire to put things into order in an
attempt to understand them better and give them a meaning by sublimating their
appearance. The aim of this project is simply to demand the best.
IVECO. Detail of the doors during welding.
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REALITY AND UNCONSCIOUS IN THEPHOTOGRAPHY OF NICCOLÒ BIDDAU
When looking at the photographs by Niccolò Biddau, we immediately feel the need to
identify the categories.
Biddau’s photography is definitely industrial photography, but in this respect we need to ask
ourselves what industry represents to photography and what, instead, photography represents
To fully understand this, we must not simply approach this data in an abstract way, but it is
essential that we intercept and categorise the images captured by the photographer, and in
turn, what he conveys to us through his images.
The main theme of each photograph is distance. From a vantage point contextualised inside
the industrial world, the first and objective attention is focused on the workplace, where the
objects that populate industry are created and produced. However, it is not long before these
objects arouse the interest of those who observe them: what are they, are they simple
manufactured parts of an object still under construction or do they already hold a meaning?
BORBONESE. New glamorous trends are created using traditional handcrafted techniques.
BY GIAN PAOLO CAPRETTINI
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For the artistic view of a photographer, they don't just communicate a production chain which
is animated by objects in the phase of completion. Biddau focuses the lens on these and, at
the same time, on those who are looking at the furnishings of the photograph. There is a need
to place an interpretive grid here that allows on
the one hand, with minimum eye distance, to bring
together the objective elements considered in
their actual reality, i.e. like constructed objects,
but on the other hand, to move away from the
object itself. To do this, it is necessary to consider
industrial architecture, the production line, to
capture a productive territory.
Observation points that change depending on the
distance that the photographer places between
his target and the surrounding reality.
Then there is the intermediate distance which separates the objects from the person who
works and who occupies the space where they are contained, who manipulates the machines
that produce them, and in doing so reveals a task of severity or a certain aesthetic wonder, as
if those objects come alive through him and at that precise moment.
By widening our eyes and maximising the distance between the target (i.e. the industrial world)
and the photographer’s vantage point, an historical consideration can be made between the
twentieth century, the century of total automation, and the twenty-first century, the era of virtuality.
The twentieth century is marked by machine fumes caused by temperature increases inside
the production areas; the twenty-first century unleashes the concept of virtuality, it is a time
when even industrial production dissolves into abstractness, becoming pure technological and
computerised effort and work.
Therefore, from this reading emerge categories
that can be used as reading tools, i.e. which are
useful to better understand that industrial
photography is not documentary photography, but
photography capable of capturing the interior of a
territory and of arresting strong elements full of
meaning. Nevertheless, it is a photography that
can surprise, often, because it reveals an
unconscious aesthetic quality since objects,
environments and people show something that
was not planned upstream. Niccolò Biddau’s photographs capture the birth in real time of the
product as well as its overall aesthetic consistency.
So there is the need to ask whether photography can generate a vision, an aesthetic, and a
capacity to amaze that is different from what reportage photography might return. Or whether
aesthetics refers to something manipulated, that is, something that captures the basic
elements and transforms them into something else.
TELECOM ITALIA. Telephone cable distribution system.
ITALCEMENTI. The limestone storage dome seen from within.
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Hence, there is the need to draw on categories in order to organise a reading of the prevailing
concepts. This division of categories can also be extended to interrogate ourselves on any
constructed object, on any design element and everyday product. Which is made up of
distances because we are spectators in front of
objects that are formed, but we are also the end
users. Therefore, we are in a position to observe
and enjoy the “show” because we have in front of
us, simultaneously, the architects of the
transformation of those objects, getting closer to
them, manipulating them, working on them and
finally, using them in our everyday life.
This perspective allows us to assign a certain
amount of autonomy to the object’s aesthetic
strength. And then there is the anthropological factor, i.e. the important role played by the
human being who works and who exerts his ability to control things; in front of an industrial
object, is he the executor of a production plan or is he also a manipulator of something? The
anthropological element can in no way be overlooked because it is always a person who gets
closer to the objects with his eyes and hands, and does so in a way that is never completely
programmed. There is, so to say, a space left for the instinctive force of control and
manipulation that industry is not able to negate, but that succeeds, conversely, to exalt it. The
industrial object in itself is not something present in nature, in the beginning it only exists as a
project, it has no shape; however, it subsequently undergoes a transformation and this ability
to transform is the factor that photography can suggest or contribute to strengthening,
because photography in itself is a transformative technique.
That’s why Biddau’s images appear to be able to communicate a sense of suspended time
and to decorate it with precious objects as if they were living creatures.
ZUCCHETTI RUBINETTERIA. Lever during the grinding process.
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SCENARIOS OF MADE IN ITALYBY SUSANNA LEGRENZI
A journey into the heart of Italian industry is an exploration that can be taken at different
speeds. There is the slow pace of a tradition that innovates without giving way to technology,
and the fast pace of those who have always taken risks with technology and anticipated future
trends. In the images, they are the hands that hold the needle to finish a detail; the people
wearing masks and white coats in the large pharmaceutical industry; the aerodynamic galleries
of the auto industry…
And short-range production, endless kilometres of success.
The eyes penetrate deeply into the know-how of the “Italian system” among details found in
industries that are camouflaged in the lunar landscapes hidden under an umbrella to lose
themselves, in cement dust and granules drawing a single red thread in the fluctuating
processes. In the era of dematerialisation of consumption, Italy has more than one district.
This tailored tradition is made up of wooden looms, cards and spools of thread. But also of the
mechanical action of a robotic arm.
The eyes examine. They stop. They widen when looking at broad-brimmed hats in rabbit fur.
They narrow when looking at fireballs of steel forged in never-ending hangars. They embrace
DUCATI.Ducati 1199 Panigale “Superquadro” Engine..
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warehouses that resemble the dense skyline of large oriental cities. The geographies, market
areas, raw materials, processes, gestures, spaces and backgrounds change, but not the
constants. From North to South, from East to West, the camera lens goes on a journey that
passes the continuous landscape of the great
Italian province, crosses the visual threshold of
the universe of consumption, and creeps into
production, following stories that become part of
History, of struggles and successes of a private
memoir of generations reduced by war,
repopulated during the economic boom,
reorganised by the logic of international markets,
but however still able to cultivate a sense of
belonging and ethics of doing.
Among short and long times, close prospects and straightforward investigations, unchanged
production chains and futuristic scenarios, shot after shot, the economy of numbers and the
logic of finance regain a concrete physiognomy, and certify the predicated “work” and specific
weight of the goods that go back to being the tangible paradigm of a daily activity that is
measured by the serial nature of an infinitely small zipper.
Despite the crisis of the international markets and stock exchanges, the good and bad omens,
from Made In Italy to Made in the World, among thermoforming processes and hand-finished
buttonholes, the portrait of the great “Italian Industry” is an important testimony of a
reality that still takes risks in technology and product design, rooted in the territory,
committed, visionary, strong. The register is, at times, that of its origins; at other times, it is
accompanied by slowdowns and accelerations in a seesaw of ambitions and goals, flexibility
This allows Niccolò Biddau to perfectly define the processes, the breath, the energy, the
courage, and often also “beauty”. The unexpected beauty of a semi-finished product, a
gesture, a detail, an assembly, of interlacing words that accompany an in-depth investigation
aimed at reminding us of who we were, who we are and who we want to become in the not too
distant future, without ever losing sight of the production of wealth. And production of meaning.
BRUNELLO CUCINELLI. Cashmere clothing items being mended using traditional handcrafted techniques.
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1_ TENARISDALMINE. Steelworks: hot bars on curved continuous casting machine.
2_ FIAT GROUP AUTOMOBILES. Centro Stile Fiat. Work session in virtual room to assess style profile
refinement of Fiat 500.
3_ DUCATI. Ducati 1199 Panigale “Superquadro” Engine.
4_ ITALCEMENTI. The limestone storage dome seen from within.
5_ PIRELLI. After the curing process, the tyres are sent to the Finishing Area for a final quality check.
6_ GUALA CLOSURES. Safety closures for alcoholic beverages with anti-counterfeiting system.
7_ FILATURA DI GRIGNASCO. Pure wool top: the beginning of fashion.
8_ LANFRANCHI. Elements attached in a continuous chain: the technology meets elegance.
9_ BRUNELLO CUCINELLI. Cashmere clothing items being mended using traditional handcrafted techniques.
10_ CORNELIANI. Handmade finishing detail.
11_ BORSALINO. Semi-finished hats on rack to be air-dried.
12_ CASSINA. Barrel chairs in the carpentry shop before final assembly, design Frank Lloyd Wright.
13_ ZUCCHETTI RUBINETTERIA. Components of the Bellagio collection during the assembly process.
14_ ALESSI. Assembly of kettle with bird whistle, design by Michael Graves.
15_ CAMPARI. Camparisoda bottles designed by Fortunato Depero in 1932.
16_ ZANETTI. Grana Padano maturing warehouse.
17_ BAULI. A pandoro coming out of the oven.
18_ TELECOM ITALIA. Telephone cable distribution system in the exchange.
REPRODUCTION OF PHOTOGRAPHS
The photographs are available exclusively for reproduction in an article or review of the exhibition
INDUSTRIA by Niccolò Biddau, which will be held from 29 November 2013 to 6 February 2014
at the Triennale di Milano, Viale Alemagna 6.
All the photographs must be accompanied by the credits and captions, as described in the list.
Reproductions must be faithful, including chromatically, to the originals, taking are to identify the
work and reproduce it perfectly in full.
FOR FURTHER INFORMATION, PLEASE CONTACT
TRIENNALE MEDIA RELATIONS
Tel. +39 02 72434247
e-mail: [email protected]
Tel. +39 347 12 00 420
e-mail: [email protected]
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NICCOLÒ BIDDAUBORN IN ITALY (TURIN), 1966
FREELANCE PHOTOGRAPHER SINCE 1988
EMAIL: [email protected]
Niccolò Biddau began his career in 1988 as a freelance photographer, doing reportages in the
Far East and Latin America. He later focused on nude and fashion photography in Italy and
abroad, and since 1998 has been specializing in black and white photography, focusing mainly
on urban landscapes, sculptures and interiors. 2002 marked a turning point in his career when,
investigating the production cycles of companies, he began to place the "aesthetics of technology"
at the centre of his interpretative language. From then on he placed all his efforts into developing
this theme by creating photographic services on the excellence of Italian industry, which were
published in monographs, displayed in exhibitions and featured in major Italian magazines and
publications. This was accompanied by a new core of research: architectural complexes and
monuments and their artistic components. In 2005, in addition to his work as a photographer,
he became an editor of books and exhibitions dedicated to Italian industrial photography for
important Italian institutions and companies.
He collaborates with publishers, institutions and industries in the creation of photographic
campaigns. His photos have been published in monographs, displayed at exhibitions and have
In 2010, because of his originality, artistic merits and style, the Black and White Spider Awards
Jury - made up of thirty-nine of the most important names in the world of photography - judged
him to be one of the best black and white photographers in the world.
His photographs are characterised by his ability to reshape the contours of the reality of things,
transferring to them all the subjective feeling that a vision is capable of suggesting. The adoption
of black and white photography allows him to work on empty and full spaces, enhancing the
absolute nature of matter through the stillness that is trapped within. His photography focuses
on the static nature of industrial objects, as well as sculptural and architectural forms, and this is
conveyed in the details, almost always hidden, but which once identified, leap out in all their vitality.
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BOOKSTHE MOST RECENT INCLUDE:
2012 Industria II ed. - PHOTO PUBLISHER
2011 Industria - PHOTO PUBLISHER
2007 Piemonte Industria. Un secolo di lavoro in fotografia - PHOTO PUBLISHERCultura d’impresa in Lombardia. Un secolo di lavoro in fotografia - PHOTO PUBLISHER
2006 Sculture ritrovate dell’AEM - Federico Motta Editore
2005 Gli Uomini, il lavoro, la fabbrica - Federico Motta Editore
EXHIBITIONSTHE MOST RECENT INCLUDE:
2011 L’estetica della tecnologia, Istituto Italiano di Cultura, San Francisco, USA (CA) Immagini dall’Archivio Fiat 1980-2010, Museo Fiat, Turin, ItalyRegioni e Testimonianze d’Italia. Fiat 1899 - 2011, Roma, ItalyPiemonte Industria, Design Factory, Bratislava, Slovak Republic Piemonte Industria, Východoslovenská galéria, Košice, Slovak Republic
2010 Cento anni di imprese per l'Italia, Triennale, Milano, Italy (group)Cento anni di imprese per l'Italia, Ara Pacis, Roma, Italy (group) Piemonte Industria, Museo ItaloAmericano, San Francisco, USA (CA)
2009 Piemonte IndustriaBELGIO: La Fonderie, BruxellesARGENTINA: Buenos Aires - Luque, Cordoba - Mar del PlataITALIA: Castello San Michele, Cagliari
Lombardia Industria, Fiera di Bergamo, Italia
AWARDSTHE MOST RECENT INCLUDE:
2013 European Photo Book of the Year Awards, EuropeWinner of the Monographs category with the book INDUSTRIA
2012 Black and White Spider Awards, Los Angeles (USA) - London (UK)Two nominations for the Abstract and Still Life categories
2011 Black and White Spider Awards, Los Angeles (USA) - London (UK)Three nominations for the Abstract and Still Life categories
2010 Black and White Spider Awards, Los Angeles (USA) - London (UK)1st Place - Outstanding Achievement, winner of the Still Life category
2009 International Photography Awards, Los Angeles (USA)Honourable mention for the Industrial category
2008 PremioFotografico, Milano, ItaliaWinner of the Interior Design e Architecture categories
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EXHIBITION OPENS ON NOVEMBER 29, 2013 UNTIL JANUARY 6, 2014 OPEN FROM TUESDAY THROUGH SUNDAY, FROM 10:30AM UNTIL 8:30PM
THURSDAY FROM 10:30AM UNTIL 11:00PMCLOSED ON MONDAYS
TRIENNALE DI MILANO
SALA IMPLUVIUMVIALE EMILIO ALEMAGNA, 6, 20121 MILANO
TEL. +39 02 724341WWW.TRIENNALE.ORG
ON SALE AT TRIENNALE BOOKSTORE
EXHIBITION MEDIA RELATIONS
TEL. +39 347 12 00 420
E-MAIL: [email protected]
TRIENNALE MEDIA RELATIONS
TEL. +39 02 72434247
E-MAIL: [email protected]
CS_TRIENNALE INGLESE_CS_SAN FRANCISCO 24/11/13 23:41 Pagina 20
WITH THE COLLABORATION
WITH THE PATRONAGE
A TOAST WITH
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Industry has never been so compellingGuido Berlucchi at Niccolò Biddau’s “Industria” exhibit
Opens 28 November at the Triennale di Milano toasted by Berlucchi ‘61
Borgonato, November 11, 2013
The delicate tracery of the grape bud, the self-confident architecture of the 17th-century cellar,
the feathery beauty of sediment in the bottle, and the austere geometry of phalanxes of
Expert photographer Niccolò Biddau, has sensitively explored the centuries-old Guido Berlucchi
wine cellars in Borgonato in Franciacorta, transforming natural, historical, and technological
details into artworks in black and white, thus imbuing them with a new material aura, almost
a second soul, in a projection “beyond” object and place.
These images will be featured at the upcoming Industria exhibit, along with Biddau’s other
photographs of illustrious brands of Italy’s industries, opening at the Triennale di Milano on 28
November at 7.00pm.
Complementing the images, documentary filmmaker Giovannij Lucci will screen his fascinating video
account, with Franco Ziliani, Guido Berlucchi President and winemaker, providing a commentary.
Ziliani bears credit for the creation of the first classic-method Franciacorta, Pinot di Franciacorta
1961, making him the pioneer in the economic development of the growing area. To commemorate
that first wine, maison Guido Berlucchi recently introduced its Franciacorta Berlucchi ’61 line;
the portfolio’s Brut style will be the official toast of the exhibit vernissage.
Tel: + 39 340.3849521
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Milano, November 11, 2013
Guala Closures Group, an Italian multinational company and world leading manufacturer of anti-
refillable closures and aluminium screwcaps for spirits, wine, oil and vinegar, water and
beverages, foods and pharmaceuticals, for years engaged in technological innovation and design
of its products, has chosen to be a sponsor of the exhibition "INDUSTRIA". The project brings
out the feeling of industrial production not only through technical quality, but also through the
aesthetic form of the products, making them real "works of art" able to transmit those values
inherent, though not always evident, of creativity, ingenuity, process, thinking, that characterize
the commitment of the people working in Guala Closures Group, which today registers about
4,000 employees and 25 manufacturing plants worldwide. The exhibition fully represents the
excellence of Made in Italy, of which Guala Closures becomes a promoter in the world through
its products, sold in over 100 countries, and its know-how, thanks to the 5 research centers in
India, China, Mexico, Scotland and Italy where they have created 20 new products over the past
three years and registered more than 70 international patents.
PMS – Ufficio Stampa Guala Closures
Federica Menichino – [email protected]
Laura Brocca – [email protected]
Tel: + 39 02 48000250
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