Arts & Food – Rituals Since 1851 @ Salone Milan 2015

Arts & Food – Rituals Since 1851 @ Salone Milan 2015

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The exhibition Arts & Foods. Rituals since 1851, running from April 9 to November 1, 2015, is the first section of the EXPO 2015 to open, as well as the only thematic area of the Expo located in the center of Milan.

The exhibition is housed in the Triennale di Milano gallery spaces in via Alemagna, extending over 7,000 square meters internally and utilises external garden courtyard spaces as well

For the occasion the Triennale has been restored and polished in anticipation of the many visitors who will flock to admire the works of famous artists all over the world, for a perfect Union between art, design and food.

The exhibition, inspired by the main theme of the EXPO Milan 2015, “Feeding the Planet, Energy for Life”, is aimed to investigate the manifold relationship between food, its rituals and different means of artistic expression over a long period – from 1851 ( the year of the first World Exposition in London and the starting point of modernity ) to present day.

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La Triennale di Milano is the only Italian institution with a multidisciplinary approach to the visual and applied arts,” said Claudio De Albertis, President of La Triennale. “It was thus only natural to accept the proposal of the Expo to put on the Arts & Foods exhibition as well as the eighth edition of the Triennale Design Museum, devoted to such an essential subject as that of the Expo.”

The goal of the exhibit is to bring the public closer to the complexity of history from 1851, the year of the first world Expo in London, to today’s Expo 2015, where the theme of food is explored through all possible languages: photography, cinema, literature, paintings, sculptures, designs, so that the public may understand the full picture of the intellectual work that evolves around food,” exhibition curator Germano Celant said.

Germano Celant

Germano Celant

The project began in 2011 as a response to the thematic stimulus of Expo 2015, and it is part of the series of connections Germano Celant proposed from 1976 to the present on the encounter of art with other languages of visual and performative creativity.

After “Arte & Ambiente”, 1976, “Arte & Media”, 1977, “Arte & Moda”, 1996, “Arte & Architettura”, 2004, “Arte & Suono”, 2014, today we have reached “Arts & Foods

Germano developed a discourse in time, on practices concerning nutrition – both physical and intellectual, visual and olfactory, formal and aesthetic, informative and communicative, sensual and spiritual – with respect to the eating and preparation of real and concrete, iconic and virtual foods.

The entire exhibition bears witness to the expression of culinary and nutritional rituals through all languages – hence the plural nouns of the title ‘Arts & Foods’ – from architecture to art, design to cinema, photography to television, publishing to printing, advertising to music, fashion to industry.

Photographs show the external processes, markets, retaining, sales, as well as transport and industrial production. Cinema addresses all the phases of representation of the ritual of dining, from silent films to Hollywood blockbusters, as well as avant-garde experimentation. Architecture can function as a tool of popular communication, and as the solution of spaces, as in the case of wineries. Fashion is intertwined with everything, from Elsa Schiaparelli to Issey Miyake. And then there is the mass market focus on chefs, creating genuine superstars, with roots in the representations of the great art protagonists like Claude Monet.

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It needed a team of 150 people to co-ordinate the exhibitions featuring over 2000 exhibits including 1000 design objects, 350 photographs, 120 film excerpts, 400 art works, 15 actual-size settings, including two works of architecture by Jean Prouvé and Maneval, dining rooms and bars, from Art Nouveau to Cubism, Futurism to Neoplasticism, Fluxus to the present.

Exploring the exhibition’s 15 rooms, is like taking a journey through time, with the visitor experience having an average duration of about 90 minutes.

The exhibition develops these themes through the reconstruction of 15 rooms and rooms dedicated to food places-from the dining room to the kitchen, from the bar to the spaces for picnics-where paintings, sculptures, objects, furniture, appliances, photographs, documents, film extracts, programs television, posters, clothing, games, disc covers and menus create a narrative impact, with more than 2,000 artworks.

Many foundations, museums and private collectors from around the world collaborated in this creation, which cost more than 6 million euros to stage, and will run for 6 months through the whole of Expo Milan

entrance triennale milan 2015

Curated by Germano Celant and with the display design by Studio Italo Rota, Arts & Foods will use a multi-level, multi-sensorial approach to examine the developments and solutions adopted with regard to food.

It is a panoramic view of the way aesthetics and design are intertwined with the ritual of eating in an exhibition that is made up not just of artworks, but also of installations and aural, olfactory and cinematic experiences.

The whole show can be crossed by following different themes, found in the various historical sections – like the history of the dining table from the 1800s to the 1900s, with its objects, to the production of utensils, from knives to glasses, carafes to coffeepots to cookware, or the areas of travel food, outdoor picnics in Europe and Asia, eating on airplanes and in outer space, as well as the design of buildings devoted to the rituals and production of food.

“It is in chronological order, with environments illustrating the spaces for eating together, in both the private and the public domain, from the dining room to the kitchen, and from cafés to eating on the move, in which furniture, objects, household appliances and works of art create a narrative of great visual and sensorial impact.”

All of this will be accompanied by the testimony of artists, writers, film makers, graphic designers, musicians, photographers, architects and designers who, from Impressionism and Divisionism to the historical avant-garde movements, and from Pop Art to the latest artistic research, have helped develop the vision and consumption of food.

And then there is the mass market focus on chefs, creating genuine superstars, with roots in the representations of the great art protagonists like Claude Monet.

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construction works still underway – target is the May Expo Milan 2015 – but early opening for the Salone in April

To eliminate doubt about Celant’s curatorial preferences, there is the chilling neo-pop ” Lunches by McDonald’s” of Tom Sachs – the only work of Arts Foods presented in the Nave entrance of the Triennale

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The exhibition will provide a worldwide overview of the interaction between aesthetics and design in the rituals of eating, as an international event that will use different media to take visitors through time, from the historic to the contemporary, and through forms of expression, creativity and communication in all cultural areas.

The project encompasses moments and themes of the rupture and progress that the arts offer as a reading of the history and evolution of food and nutrition.

The presence of food, places for eating together and nourishment, have always been a feature of the history of art. In art, food takes on a “representative” value, which in other words, represents something else beyond ourselves.

Set in a wide-ranging scenario it traces areas of continuous crossover and contact between the visual arts and various segments of the industrial arts and mass culture.

Examples range from the patented imports of new foods of the Western world, presented and shared through Universal Expositions, to the representation of products in the art of the 1960s, with the advent of mass advertising and packaging, arriving at the use of new technologies in both architecture and design, and in the art world.

The exhibition sets out to show the future of the documented periods and futuristic nature of discoveries related to food and eating together, and their effect on all the arts, exploring new opportunities for analysis and reflection

Geramano Celant, curator of the exhibition, worked in harmony with the construction of Italo Rota and graphics support by Dutch designer Irma Boom, to realize a project dedicated to the “places of food”.

Under the architectural direction of Studio Italo Rota, visitors will have the opportunity to immerse themselves physically in a spectacular route where works of art, drawings and architectural models, films, objects, documents, books, menus, and album covers bring to life a narrative that set works and images in their own historical, sociological and anthropological context.

Italo Rota has created the exhibition display, which occupies galleries across all three floors of the 1930s building designed by Giovanni Muzio – including parts of the museum’s basement-level garden, where works on display include a giant inflatable Daddies’ ketchup bottle by British artist Paul McCarthy

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Paul McCarthy’s giant, inflatable ketchup bottle ( 2007 ) placed in the Triennale’s lush park like a plastic skyscraper

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A suggestive showcase which exhibits many objects, talking about the relationship between food and art, a theme explored through

1) The art of an impressive and diverse grouping eg  Cindy Sherman, Paul Gauguin, Georges Braque, Andres Serrano

2) the photography by Henri Cartier-Bresson, Ugo Mulas,

3) pop-art by Andy Warhol, Robert Rauschenberg, Mimmo Rotella, Roy Lichtenstein and other artists,

4) enriched by the creations made by the fashion designer Ken Scott( though fashion is a delicate presence, just murmured into the exhibition, evidence of a culture eradicate in Italy which still considers fashion as a secondary discipline and gives the primacy to the visual arts),

5) designers include Joe Colombo, Bruno Munari, Theo Van Doesburg among many others.

6) the commercials by Armando Testa (bright creative who made the commercial saga of Carmensita for the Paulista coffee by Lavazza )

7) and impressed also on music, embodied in the cover albums of celebrated bands as Rolling Stones.

8) what’s also exciting is the exhibiting of works by some designers who are entirely under-the-radar or even anonymous.


Official Opening

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Giuseppe Sala (ceo of Expo Milan 2015 ) and Claudio De Albertis ( president of Triennale ) agree on the “great desire to Italy” that foreigners and visitors, boost and spurred by a broad interest event such as Expo 2015, stressing how important it is to take this opportunity to innovate and renew the beauty that belong to our country, all too often taken for granted.

Claudio De Albertis

Dario Franceschini ( Minister for Culture and Tourism ) added “the goal to conquer the visitors for them to remain in Italy to visit something outside the pre-established beautiful canonical”

A beautiful departure for Milan and an extraordinary opportunity for the Trienniale

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Giuseppe Sala and Dario Franceschini cut the ribbon to officially open the exhibition


Germano Celant and Giuseppe Sala

From 19th century French painters to Andy Warhol’s famous soup cans, ‘Arts & Foods — Rituals since 1851’ explores the human relationship with all things edible.

In one corner of the exhibition, visitors are stepping back into the 19th century. Fast forward 100 years and food is found in cans, a result of the post-war industrial boom of the 1950s and 60s.

Old-fashioned Coca-Cola dispensers and art installations critiquing mass consumption provide a colorful commentary on the globalization of food and eating habits.

“Nutrition is a hot topic, from how we produce food to how we consume it. The goal is to create fans of the exhibit and fans of the themes. It’s also a way of approaching our own life, which is so rich when it comes to food,” Rota said.

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“The whole show is an ode to the experience of designing for food.

From furniture to tools for conservation, glass utensils to appliances, convivial rituals to the market, the store and the supermarket, the otherness and the creativity of art give way to the functional purposes of crafts and trades.

Tools ranging from the artisanal to the technological, that have had a decisive influence on our relationship with nutrition.

irma boom catalogue

irma boom designed catalogue for Arts & Food Triennale


Exhibition concept and layout

Arts & Foods is divided into 4 eras, housed in 3 different galleries within the Triennale

a)   1851 – 1900      Curva Gallery

       1901 – 1945      Curva Gallery

b)  1946 – 1975      Auelenti Gallery

c)  1976 – 2015      Cube Gallery




From 1851 to the post-war era


The first section, located at the ground floor inside the “Curva” gallery, is a journey from the mid-19th century first World Exposition in London up to the post-war era.

The Curva Gallery has been largely dedicated to cutlery and tableware – the walls and temporary partitions have been painted a dark grey and hung with paintings from the 19th and early 20th centuries.

Other objects are displayed in glass vitrines arranged around the space eg silverware, porcelain, cookbooks and multifunction knife sets

Life-size vignettes have also been built to display fittings and accessories from a complete butcher’s shop,  kitchens, even an original bar in Florence from the 19th century.

It is based around a vast set of items related to food and nutrition: exceptional works of art, from the 19th century figurative painting to the early-20th century abstract movements; utensils, tableware, cooking books; applied artworks, reconstructions of “typical” domestic and retail spaces, as well as architectures – including projects by Rietveld, Le Corbusier and Jean Prouvé.

In the first path pass through kitchens, dining rooms and bars where antique paintings by Monet, Gauguin, Braque, Balla, Boccioni, Morandi, De Chirico serve as back drops.


Giuseppe De Nittis

James Ensor, 'Nature morte au canard,' 1880,

James Ensor, ‘Nature morte au canard,’ 1880,

Claude Monet, Der Koch (Le Chef Père Paul), 1882 (2)

Claude Monet, The Cook ( Le Chef Père Paul ), 1882

Claude Monet, Der Koch (Le Chef Père Paul), 1882

In the sense that Arts & Foods will expand to address literature, with quotations from authors and philosophers like Molière, Gertrude Stein, Marcel Proust, Franz Kafka, James Joyce, Jack Kerouac and John Cage, and will present cookbooks and menus from 1851 to the present, covering the creative impact of publishing.

Dozens and dozens of recipe books and brochures, also designed by artists like Edouard Manet, or written and illustrated by the likes of Filippo Tommaso Marinetti and Gio Ponti, will form an ideal library on the subject of food and dining.

triennale art food booklets

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Angelo Morbelli – Asfissia!,


Georges Braque

The first impression is that the revolutionary and priceless painting of Impressionism, Cubism, Futurism and Surrealism is to furnish the kitchens of our grandmothers.

With Celant’s curation, all objects of view, whether or not art, return to their functionality: is the guiding principle of design, art.

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table designed by Angelo Fasce, and patented in 1936

The surprisingly modern rationalist and multi-functional “Tavolo l’Autarca” by Angelo Fasce, which was designed and produced around 1910 The idea was that diners could serve each course of a meal by simply turning a handle, therefore dispensing with waiting staff

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scene showing sailing boats carrying edible goods and ingredients around the world

A reconstruction of a Milan early-20th century cafe

A faithful reconstruction of a real Florentine bar from the early 20th Century, painstakingly rebuilt, bottle-by-bottle


A set of sensations which leave the task of intrigue to billboards by Depero for Campari, Cabaret Voltaire and dada objects by Ray and Duchamp.

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works by Man Ray and Marcel Duchamp (4)

A display case with works by Man Ray and Marcel Duchamp


The topic of Cannibalism was investigated as well


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An early-20th century butcher shop

propaganda poster by Filippo Tommaso Marinetti, 1937

poster by Filippo Tommaso Marinetti, 1937

Theo van Doesburg, Café de l’Aubette, 1926-1928, Rotterdam

Theo van Doesburg, Café de l’Aubette, 1926-1928, Rotterdam – a 1/100 scale model

Dining room “Casa Cimino” by Gerardo Dottori, early 1930s

Dining room of “Casa Cimino” by Gerardo Dottori, early 1930s

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A magnificent collection of 314 pieces of antique silverware is on show, loaned by Milan’s famous G. Lorenzi cutlery company

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American kitchens and Lester Beall’s AD for the Rural Electrification Administration, late 1930s

American kitchens and Lester Beall’s AD for the Rural Electrification Administration, late 1930s

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In the climate of plain outdoor paintings where the subject of picnic in the West opposes that of outdoor banquet in Japanese world.

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On the level of unprecedented coverage, the entire exhibition itinerary is accompanied by theme, that some things are ‘forbidden to adults’, and can be viewed only by children.

Here the subject of food is addressed through toys, from kitchens to trucks that transport food, all in miniature, to reach the part that has to do with the period from 1951 to 1980, dominated by Pop Art and Fluxus, with the presence – only for kids – of one hundred paintings by Andy Warhol, silkscreens of toys and robots ( see below ) .

An exceptional moment that only the non-adults will have the privilege of seeing at the height of their own gaze.”

Henri Cartier Bresson, Sunday on the sanks of the Seine river, 1938

Henri Cartier Bresson, Sunday on the banks of the Seine river, 1938




From Post war 1946 to 1975


The second part of “Arts & Foods”, housed in the “Aulenti” Gallery, depicts the period from 1946 to 1975.

This section presents all the hopes and contradictions of a period that embodied an ideal of optimism and innovation, but eventually came to criticize the degeneration of that ideal.

On the one hand, in the years immediately following the end of the World War II, a confident belief in modernity introduced new materials for furniture, utensils and food containers, aimed to a domestic space which is more and more free from the conventions of the past; furthermore new typologies of space and new objects were created to support habits and trends related to the mass consumption of food.

On the other, many begin to criticize this social model, and especially its degeneration into consumerism; like Warhol through his “serialized” food icons, the hippie culture and many desecrating filmmakers, such as Antonioni, Bunuel and Kubrick, to name a few.

Until the 1950s the image of food is a stimulus to represent the everyday landscape, like meals, the table, the dining room, the cafe and the picnic, and then this representation gives way to the presentation of the object itself.

Mobilier Cuisine Atelier Le Corbusier Type 1 by Le Corbusier, 1955

Le Corbusier: kitchen unit type 1 for the “Unité d’habitation” in Marseille, 1955

Jean Prouvé “La maison des jours meilleurs” 1956 (2)

Jean Prouvé: “La maison des jours meilleurs”, 1956

Towards one end of this gallery is the Pavilion Le Jours Meilleurs by Jean Prouvé, a single-storey prefabricated house that can be built using simple tools in just seven hours, with a central green steel cylinder that houses the kitchen and bathroom and holds up the roof.

It was designed in 1956 as a proposal for re-housing French citizens that had been displaced during the war.

Jean Prouvé “La maison des jours meilleurs” 1956 (1)

pietro consaga cabinets

Some objects on display are experimental piece. eg the late sculptor Pietro Consagra’s abstract cabinet is a deconstructed take on the staple furniture piece.  Pavoni “Concorso”, coffee machine by Bruno Munari and Enzo Mari, 1956


“From the 1960s, with the advent of Pop Art in the United States, from Claes Oldenburg to Roy Lichtenstein, Andy Warhol to Tom Wesselmann, the motif of food becomes sculpture and painting.

Taking images from billboards or advertising, or the illustrations of newspapers and magazines, these artists directly evoke the hot dog or the ice cream cone, the Coca-Cola bottle, the Campbells soup can, putting them on the surface of the canvas or making them as three dimensional objects.

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Robert Indiana’s The Electric Eat light-up sign

Another gallery on the ground floor representing “pop art” is accessed through swing doors and features yellow walls, partitions and surfaces.

Here, curator Germano Celant has managed to wrangle top works by major artists of the likes of Andy Warhol.

With Campbell’s Soup by Warhol, we witness the triumph of American Pop Art, packaging, products of mass consumption and commercials

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‘Campbell’s Soup I Portfolio’ by Andy Warhol from 1968

Warhol the last supper camel 57 1986 triennale

‘The Last Supper (Camel/57)’ by Andy Warhol, 1986

Children’s Paintings (series of 93 drawings) by Andy Warhol, 1983

Warhol’s Kellogg’s Corn Flakes Box and Heinz Tomato Ketchup boxes

Ugo Mulas

Ugo Mula photography of Warhol Studio

ugo mulas warhol factory 2

space capsule vostok 1964

Russian space capsule vostok 1964

Mimmo Rotella, Point and a half, 1962

The cover albums by celebrated artists

record cover album

Nino Migliori, Bread delivery boy, 1956, Bologna,

Nino Migliori, Bread delivery boy, 1956, Bologna,

A sense of nostalgia permeates the show, as visitors will find pieces and installations that trigger personal memories—whether it’s the old packaging from a favorite pasta, plates from a now non-existent airline, or an advertising campaign from childhood.

airplane food

airplane food


airline plastic drinks stirrers


‘Arteriosclerose’ by Arman, 1961 – an accumulation of rusting forks and spoons in a box – translates as clogged arteries.


Marketing ( adverising, posters, mascots and packaging )

Roy Lichtenstein, Ceramic sculpture, 1965,

Roy Lichtenstein, Ceramic sculpture, 1965

Roy Lichtenstein, Apple with black and blue blackground, 1982

Roy Lichtenstein, Apple with black and blue blackground, 1982

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characters from product advertising

Carmensita and Caballero, the main features of commercials by Armando Testa for Paulista coffee by Lavazza

Carmensita and Caballero, the main features of commercials by Armando Testa for Paulista coffee by Lavazza

Commercial by Armando Testa

Commercial by Armando Testa

food commercial Susanna, brand of cheese triangles by Kraft,

Another iconic persona still existing from food commercial Susanna, brand of cheese triangles by Kraft

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packaging triennale 2015

Mel Ramos Della Monty 1971-Oil on canvas

Mel Ramos Della Monty 1971-Oil on canvas


Coca Cola vending machines

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Jean Maneval, Maison Bulle, 1968

Jean Maneval, Maison Bulle, 1968

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Tom Weisselmann, Still life series

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ugo mulas photo of tom weisselmann studio

triennale joe colombo roto living unit 1969

Joe Colombo, Roto-living unit, 1969

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Ken Scott Food Fashion 1969




From 1976 to 2015


The present-time section of the exhibition is located within the “Cube” gallery on the first floor; here, works by contemporary artists express the complexity of what food represent these days.

Visions depicting a, often crude, reality where the “the food question” involves politics, consumerism, over-production and globalization of food, only in theory available everywhere, are placed alongside critical proposals envisaging a more strict relationship between food and local communities.

The third and final route is that of the contemporary scene with big, spectacular installations and where the artists gathered at the end of the 70 ‘s bu Celant are distinguished by their natural materials: bread for Penone, Merz and Fischer, and ground coffee to Kounellis invading reassuring exhibition and sensual fragrance.

“In this room we go from the smell of coffee to that of chocolate and bread. These are the materials of the artwork, so the exhibit involves not just sight, but all five senses,” said Italo Rota, exhibition architect.

“And this helps visitors memorize complex issues that the exhibit illustrates, anorexia, bulimia, famine, and also the great pleasure of a colorful cake, which catches the eye first.”

last supper vik muniz

Brazilian Vik Muniz that paints “Milan, the Last Supper” 1999, with chocolate (of which Brazil is world largest producer),

wim delvoye cloaca washing machine stomach

Belgian Wim Delvoye, with a portable version of his Cloaca: a washing machine into the digestive tract

The exhibition ends with Jeff Koons and Paul McCarthy

In our society of the spectacle, therefore, scale changes, art takes monumental to get noticed and overwhelm us but also because it costs more and make more profits as she realized Damien Hirst who is not in the curation selection of Calent


On the upper floor, the gallery space set aside for the exhibition has been painted white and includes large-scale works like Igloo del Pain (an igloo made from bread) by Italian artist Mario Merz, and architect Frank Gehry’s The GFT Fish.

igloo mario merz 1989 triennale 2015

Mario Merz, Focaccia Igloo, 1989

Subodh Gupta, Ancestor cupboard, 2012

Subodh Gupta, Ancestor cupboard, 2012

Subodh Gupta, Ancestor cupboard, 2012. Right Gregory Crewdson, untitled (Sunday roast), 2005.

gregory crewdson 2005

Gregory Crewdson, untitled (Sunday roast), 2005.

Jannis Kounellis, Untitled, 2013 – made with coffee powder

alessi kitchen utensils triennale 2015

Alessi Kitchen Utensils

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‘Untitled #235’ by Cindy Sherman, 1987-1991.

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Frank O. Gehry, GFT fish, 1985-1986

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Vanessa Beecroft, VB52, 2003-2007

Vanessa Beecroft, VB52, 2003-2007

Sophie Calle, The chromatic diet, 1998

Sophie Calle, The Chromatic diet, 1998

Claes Oldenburg and Coosje Van Bruggen, installation, 1987

Claes Oldenburg and Coosje Van Bruggen, installation, 1987

Leaning Fork with Meatball and Spaghetti II by Claes Oldenburg and Coosje van Bruggen, 1994

Leaning Fork with Meatball and Spaghetti II by Claes Olsenberg and Coosje van Bruggen, 1994.

bread house by urs fischer 2006

Urs Fischer, Bread House, 2004-2006  / a life-size replica of a Swiss-style chalet made from bread


ron mueck woman with baby shopping 2013 (2)

Ron Mueck, Woman with Baby Shopping, 2013

ron mueck woman with baby shopping 2013 (1)

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George Steinmetz, at the Nutribras pig farm in Brazil, 2nd September 2013

George Steinmetz, at the Nutribras pig farm in Brazil, 2013

Barbara Kruger, untitled( God sends the meat and the devil cooks), 1988

Barbara Kruger, untitled ( God sends the meat and the devil cooks), 1988

Big Big Mac by Tom Friedmann

Big Big Mac by Tom Friedman

Inka Shonibare Mbe, Champagne kid(Fallen), B(w)anker (2), 2013

Inka Shonibare, Champagne kid(Fallen), B(w)anker (2), 2013

Bread House, Urs Fisher

A series of person-sized hotdogs inside sleeping bags arranged around a faux camp fire by American sculptor David Oppenheim

Andreas Gursky, 99 Cent II (Diptychon), 2001,

Andreas Gursky, 99 Cent II (Diptychon), 2001,


Jeff Koons - Cake

Jeff Koons – Cake

Cai Guo-Qiang, Sunshine and solitude poppy flowers, 2010,

Cai Guo-Qiang, Sunshine and solitude poppy flowers, 2010,

triennale milan 2015 art food

issey miyake pleats please 2008

Issey Miyake – Pleats Please 2008

Photos on wall are by Miles Aldridge – First Impression 1 + 2 2006

Pleats Please by Issey Miyake, 2008


Artworks though the Modern Era

Giovanni Gastel, Ricerca, 1991

Giovanni Gastel, Ricerca, 1991

Clips of food scenes from international films are projected onto the upper part of the wall of one room, while photographs and art works are arranged at eye level.

Among the pieces are Kevin Carter’s 1993 images from the famine in Ethiopia

famine in biafara by kevin carter 1993

Apples in a Porcelain Basket' by Sharon Core, 2007

Apples in a Porcelain Basket’ by Sharon Core, 2007.

Braco Dimitrijevic, Heralds of post history, 1997 b

Braco Dimitrijevic, Heralds of post history, 1997

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triennale milan 2015 art food  (1)

Visitors are welcomed by the stinging irony of “Mozzarella in a carriage” by De Dominicis (= a mozzarella placed inside of a carriage)



About Germano Celant

Curator Germano Celant walking in front of The Last Supper

Germano Celant, historian, art critic and theorist has managed hundreds of exhibitions around the world and published over a hundred books and catalogs.

Director of the Fondazione Prada in Milan since 1995, Celant is also curator of the Fondazione Aldo Rossi in Milan, curator of the Fondazione Emilio e Annabianca Vedova in Venice.

He was Senior Curator of the Contemporary Art at the Solomon R. Guggenheim Museum in New York from 1989 to 2008; Artistic Director of the first Florence Biennale in 1996; Director of the 47th Venice Biennale in 1997; Artistic Supervisor of Genova 2004 – European Capital of Culture, as well as many other exhibitions.

As a long-standing contributing editor of “Artforum” and “Interview”, Celant regularly collaborates with “L’Espresso” and “Interni”.

In 1987, he was awarded the Frank Jewett Mather Award, the highest recognition in America made to art critics, and in 2013 was awarded The Agnes Gund Curatorial Award by Independent Curators International.



About La Triennale

triennale logo

La Triennale di Milano, established in Monza in 1923 as the Biennial of decorative arts since 1933 and housed in the Palazzo dell’Arte in Milan, was designed by Giovanni Muzio and built between the autumn of 1931 and the spring of 1933.

Conceived by the designer to be an extremely flexible container, it is a multi-purpose organization that was highly innovative for the era in which it was designed.

Born as a panorama of modern decorative and industrial arts, with the intention of stimulating relations between industry, manufacturing sectors and applied arts, La Triennale di Milano soon proved to be the mirror of Italy’s artistic and architectural culture and a major sites for reflecting on emerging trends.

La Triennale di Milano is Italy’s institution for architecture, decorative and visual arts, design, fashion and audiovisual production.

It is also a center of cultural production that hosts conferences, film festivals, exhibitions and roadshows

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