Gaetano Pesce

Source: Wikipedia, the free encyclopedia.

Gaetano Pesce
Born(1939-11-08)8 November 1939
La Spezia, Kingdom of Italy
Died3 April 2024(2024-04-03) (aged 84)
New York City, U.S.
NationalityItalian
OccupationArchitect
PracticeArchitect, designer, educator
Organic building – Osaka
The Organic Building (1993) in Osaka
Up chair, designed for C&B Italia (now B&B Italia), 1969
I Feltri, designed for Cassina (1987)
Gaetano Pesce, vassoio in resina 03
Divano modulabile (2005) inspired by Michetta, a typical bread from Milan

Gaetano Pesce (8 November 1939 – 3 April 2024) was an Italian architect and a design pioneer of the 20th century.[1] Pesce was born in La Spezia in 1939, and he grew up in Padua and Florence.[2] During his 50-year career, Pesce worked as an architect, urban planner, and industrial designer.[3][4] His outlook is considered broad and humanistic, and his work is characterized by an inventive use of color and materials, asserting connections between the individual and society, through art, architecture, and design to reappraise mid-twentieth-century modern life.[5][6][7][8]

Architecture career

Pesce, born on November 8, 1939 in

University of Venice, with such notable teachers as Carlo Scarpa and Ernesto Rogers. Between 1958 and 1963, Pesce participated in Gruppo N, an early collective concerned with programmed art patterned after the Bauhaus. Since the 1960s, Gaetano Pesce was known to relate art to the design of interiors, products, and architecture.[10][11] The New York Times critic Herbert Muschamp described Pesce as "the architectural equivalent of a brainstorm." [12] Pesce's well known work includes Organic Building in Osaka, Japan, a Landmark vertical garden building designed to concealing a complex, computer-controlled hydration system to sustain plant growth, and the interior architecture of the Chiat/Day offices, an early workplace village modeled after urban life.[13] Among Pesce's architecture achievements are Les Halles ACIH (1979) and Parc de la Villette (1985), Paris, France, a complex of forms shaped like a running child.[14]

Pesce's prototypical three-dimensional models and architectural drawings are held in the permanent museum collections of

Triennale Museum, Milan, Italy.[15][16][17][18][19][20][21][22][23]

Architecture projects
" 09 – ITALY – TDM – Red armchair – Serie UP (UP5 and UP6) Gaetano Pesce chairs and B&B Italia at Triennale Design Museum

Industrial design

From the 1960s on, Pesce researched the

function and form of utilitarian and decorative objects, including furniture, jewelry, and shoes, from the perspective of human emotion, environment, and production. Pesce is known for innovative high-minded modern design with wit and style.[31] Pesce challenged accepted standards of abstraction, uniformity, and homogeneity. On the architect designer, critic Susan Slesin wrote, "For Gaetano Pesce, to be modern is to face the world squarely and use design as a means to comment on it.[32] Pesce expanded the established notions of Modernism through the creation functional, imperfect, and warm product design.[33] He connected art and society to design through organic form, for production by B&B Italia (formerly C & B Italia),[34] Vitra, Cassina, and fabric design, such as People (1987), composed of 570 different figures, all of which incorporate ideas about variation and diversity in contemporary society.[35][36]

Sansone I table for Cassina (1980)

Pesce's iconic

armchair - a fulsome bulbous form and attached ball-shaped ottoman – alternately referred to as La Mamma, Big Mama, Donna, and Up chair – continues to inspire interpretation nearly 50 years after its creation.[37] According to curator and author of SuperDesign, Maria Cristina Didero, "Pesce wanted to produce something about the condition of women in the world. The chair can be read as the mother, and the stool her child. But it could also be a ball and chain [suggesting] woman and the prison she was obliged to live in."[38]

Pesce is perhaps best known for his work with

Murano glassmakers[41] — Moretti, Vistosi, and Venini — whose casting techniques for informing his label-defying works of sculpture, furniture, vessels, and paintings.[42] Even Pesce's own experimentation in glassmaking led to inventive techniques and highly original results.[43] Pesce even used urethane resin to create necklaces, bracelets, brooches, and rings.[44]

For Pesce, the design and development of portable goods always incorporated craft-specialization, history, humor, and the human need for connection. Pesce's industrial design techniques such as diversified series production is a process by which he experimented with materials using a craft manufacturing sensibility applied to mass production methodology.[32] On the production line, for example, factory workers vary proportions to produce a series of objects with an "imperfect and warm" quality.[45][46]

Socio-political messaging is found in Pesce's collections, such as "Nobody’s Perfect" (2002) by Zerodisegno, and the 2010 series of irregularly shaped tables for

American flag supported on letters that spell “independence,” and “Verbal Abuse” (1994), a tall, grided lamp that bends forward with attachable weights.[49]

Pesce's unconventional

Duccio di Boninsegna (1285), in Santa Maria Novella and later moved in the twentieth century to the Uffizi.[52] Pesce's sculpture entitled "Porta Ritratti" (2018) for the Milan Fuorisalone was exhibited at the entrance of the Brera Academy of Fine Arts, and later, the 13th edition of Design Miami / Basel. The ambitious installation – a chair measuring over 13-feet (4-meters) high representing 20 human faces – according to Pesce, " is a Trojan horse that penetrates the Rocca dell'Arte making victims among the old mentality." The work is another compelling tribute to cultural diversity within society.[53]

Gallery and museum exhibitions

Pesce's architecture and design has been published, exhibited, and collected internationally and included in the permanent collections of museums around the world.[54][55]

Solo exhibitions

  • 1975: Gaetano Pesce, Le futur est peut-être passé ("Gaetano Pesce, The future is perhaps past"): Centre de Création Industrielle, Établissement Public du Centre Beaubourg, Musée des Arts Décoratifs, Paris [56]
  • 1983: Gaetano Pesce : a Yale School of Architecture Exhibition.[57][58]
  • 1986: Gaetano Pesce 1975–1985. Strasbourg Museum of Modern and Contemporary Art, France.[59][60]
  • 1988: Gaetano Pesce: Drawings, Models, Prototypes. Max Protetch Gallery, New York [61]
  • 1988: Modern Times Again. Steelcase Design Partnership, New York, New York
  • 1989: Gaetano Pesce: Steelcase design partnership. Max Protech Galleryt, New York [60]
  • 1989: Gaetano Pesce : produire industriellement la différence. UQAM, Centre de design, Montréal, Canada [62]
  • 1991: Gaetano Pesce. Collaborative Exhibition. Tel Aviv Museum of Art, Israel;[63][64] Peter Joseph Gallery, New York
  • 1996: Gaetano Pesce Le temps des questions, retrospective. Forum of the Centre Pompidou, Paris, France.[65]
  • 1997: Gaetano Pesce, Material Connection, New York, N.Y.[66]
  • 1997: Currents 69: GAETANO PESCE. Saint Louis Art Museum, Saint Louis, MO.
  • 1997: Gaetano Pesce. The Gallery Mourmans, Zoute [67]
  • 1998: The presence of objets—Gaetano Pesce. Montreal Museum of Decorative Arts[68]
  • 1999: Gaetano Pesce: The Presence of the Objects.
    GSAPP, Temple Hoyne Buell Center for the Study of American Architecture.[69]
  • 2002:
    Louvre Museum
    , Paris, France.
  • 2005: Gaetano Pesce: Pushing the Limits. Philadelphia Museum of Art, Philadelphia, PA.[70]
  • 2005: Gaetano Pesce: Il rumore del tempo. Triennale di Milano, Milan, Italy.[71][72][73]
  • 2005: H2O. Gaetano Pesce. Institut Valencià d'Art Modern (IVAM) [74]
  • 2007: Pink Pavilion di Gaetano Pesce, Triennale di Milano, Milan, Italy[75][76]
  • 2010: Gaetano Pesce: Pieces from a Larger Puzzle. Italian Cultural Institute of Los Angeles, California.[77][78]
  • 2011: L’Italia in Croce di Gaetano Pesce. Venice BiennaleItalian Pavilion, Italian Cultural Institute of New York.[79][80]
  • 2013: Gaetano Pesce: L'Abbraccio. Fred Torres Collaborations, New York [81][82]
  • 2013: Gaetano Pesce Retrospective. Collective.1 Design Fair, Pier 57, New York, N.Y.[83]
  • 2014: Gaetano Pesce: Il tempo della diversità. una retrospettiva, MAXXI, National Museum of the 21st Century Arts, Rome.[84][85]
  • 2014:Transforming Reality: Italian Design Innovation and Fantasy. Eagle Gallery, Cafesjian Museum of Art, Armenia [86]
  • 2014: Gaetano Pesce: Retrospective. Sotheby's Gallery Charpentier, Paris, France.[87]
  • 2015: Frammenti e figure architettoniche ai quattro angoli del mondo. Galleria Antonia Jannone, Milano, Italy.[88]
  • 2015: Gaetano Pesce: ‘One of a Kind Iconic Works, 1967–2015. Allouche Gallery, New York [89]
  • 2015: Gaetano Pesce: For Her. Reinstein Ross Gallery, 30 Gansevoort Street, NYC [90]
  • 2015: Performance nell’installazione : La Cucina Luogo di Passione.
    Triennale Design Museum, Milan, Italy.[91]
  • 2015: Gaetano Pesce: Frammenti e figure architettoniche ai quattro angoli del mondo. Galleria Antonia Jannone, Milan, Italy [92]
  • 2016: Fish Design, Maison & Objet, Paris [93]
  • 2016: Gaetano Pesce: Molds (Gelati Misti) MOCA Pacific Design Center, Los Angeles[94][95]
  • 2016: Gaetano Pesce 'Gli Armadi Parlanti' ('The Speaking Cabinets') Salon 94, Design Miami[96]
  • 2017: Gaetano Pesce : architettura e fugurazione. Complesso Museale di Palazzo Ducale, Mantua, Italy[97]
  • 2019: Gaetano Pesce: Workingallery, Salon 94 Design, New York[98]
  • 2019: Gaetano Pesce: Age of Contaminations. Friedman Benda, New York[99]
  • 2021: Nobody's Perfect: Pesce's First Solo, Sea World Arts and Culture Center, Shenzhen, China
  • 2023: Dear Future, Goldwyn House, Los Angeles[100][101]

Group exhibitions and programs

  • 1972: The New Domestic Landscape: Achievements and Problems of Italian Design.
    The Museum of Modern Art, 26 May to 11 September 1972.[102][103]
Architecture on Film: Italy – The New Domestic Landscape,
MoMA, 1972 + Q&A with Gaetano Pesce and Peter Lang. [104]
Canadian Museum of History; Cincinnati Art Museum, OH; Montreal Museum of Fine Arts, Canada;
Musee des Arts Decoratifs, Paris, France.[110]
and Istituto Statale d'Arte di Venezia, Italy.[111]
Museum of Art & Design, (formerly
American Craft Museum), New York, N.Y.[117]

Academic experience

For 28 years, Pesce taught architectural design at the

Pittsburgh, Pennsylvania; Ohio State University, Columbus, Ohio; and in New York, from 1980 on, at the Cooper Union.[126][127]

Death

Gaetano Pesce died on 3 April 2024, at the age of 84.[128][129][9][130][131]

Professional recognition

Literature

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External links

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