[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-zanotta-edizioni":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":90},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":85,"matched_pages":86,"match_count":87,"two_pages":88,"show_text":89},15609,"Zanotta Edizioni","zanotta-edizioni","\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F92\u002F4fc5348f3fd194b6b7f0cc4b9d33a1-285e06905f.pdf","Zanotta",407,"zanotta","4.6 MB",[14,17,20,24,28,32,36,40,44,48,52,56,60,64,68,72,76,79,82],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.3.png","edizioni\n4 \nSinger\ndesign \nBruno Munari, \n1945\n5 \nZabro\ndesign \nAlessandro Mendini, \n1984\n6 \nHispo\ndesign \nAlessandro Mendini, \n1986\n7 \nSirfo\ndesign \nAlessandro Mendini, \n1986\n8 \nMacaone\ndesign \nAlessandro Mendini, \n1985\n9 \nAgrilo\ndesign \nAlessandro Mendini, \n1984\n10 Calamobio\ndesign \nAlessandro Mendini, \n1985\u002F88\n11 \nCetonia\ndesign \nAlessandro Mendini, \n1984\n12 Mikiolone\ndesign \nAlessandro Mendini, \n1986\n13 Mombasa\ndesign \nEttore Sottsass, \n1989\n14 Carabo\ndesign \nEttore Sottsass, \n1989\n15 Nairobi\ndesign \nEttore Sottsass, \n1989\n16 Pompei\ndesign \nAlik Cavaliere, \n1992\n17 \nGenesio\ndesign \nAlik Cavaliere, \n1990\n18 Alicante\ndesign \nAlik Cavaliere, \n1990\n19 Alchera\ndesign \nJoe Tilson, \n1992\n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.4.png","Zanotta Edizioni, nata nel 1989, è una \nparticolare collezione di oggetti d’arredo \nche si colloca in una zona di confi ne tra \narte e design. \nI pezzi di questa collezione si ispirano \nalla tradizione dell’artigianato artistico \nitaliano. Liberati dai vincoli della produzione \nindustriale, hanno una forte componente \ndi lavoro “fatto a mano”. Alcuni di essi \nripropongono, per recuperarle, tecniche \nin disuso come l’intarsio o la decorazione \npittorica mentre altri sono realizzati con \ntecniche nuove e sperimentali. Questi \noggetti sono da scegliere come si scelgono e \namano i quadri, le sculture, i tappeti o i mobili \nd’antiquariato. Come questi, sono destinati \na valorizzare emotivamente l’ambiente \ndomestico. La piccola serie nella quale \nvengono prodotti, o la numerazione limitata, \nne accrescono il valore nel tempo.\nNel 1991, per il suo “forte spessore culturale”, \nla collezione Zanotta Edizioni, ha ottenuto \nla Segnalazione d’Onore nell’ambito del \nprestigioso Premio Compasso d’Oro.\nZanotta Edizioni was formed in 1989 as a \nspecial collection of furnishing items verging \non art and design.\nItems in this collection are inspired by the \nItalian artistic handcrafting tradition. Free \nfrom the bonds of industrial production, \nthey are charged with the powerful charm \nof “handmade” objects. Some of them \nrepropose and recover techniques that have \nfallen into disuse (e.g. marquetry and pictorial \ndecoration), while others are made with new \nexperimental methods. Such objects must \nbe chosen with the same care given to the \nchoice of paintings, sculptures, carpets and \nantique furniture since, like the latter, they are \nmeant to emotionally enhance the domestic \nenvironment. The small series limited number \n- in which they are produced increases their \nvalue in time.\nIn 1991 the Zanotta Edizioni collection was \nawarded an honours acknowledgement in the \nframework of the prestigious Compasso d’Oro \nAward for its “powerful cultural features”.\nedizioni\nle Edizioni collezionate \nnei musei \u002F\nEdizioni in museum\ncollections\nAgrilo \ndesign Alessandro Mendini, 1984\nAlchera \ndesign Joe Tilson, 1992\nAlicante \ndesign Alik Cavaliere, 1990\nCarabo \ndesign Ettore Sottsass, 1989\nCalamobio \ndesign Alessandro Mendini, 1985\u002F88\nCetonia \ndesign Alessandro Mendini, 1984\nGenesio \ndesign Alik Cavaliere, 1990\nHispo \ndesign Alessandro Mendini, 1986\nMacaone \ndesign Alessandro Mendini, 1985\nMikiolone \ndesign Alessandro Mendini, 1986\nMombasa \ndesign Ettore Sottsass, 1989\nNairobi \ndesign Ettore Sottsass, 1989\nPompei \ndesign Alik Cavaliere, 1992\nSinger \ndesign Bruno Munari, 1945\nSirfo \ndesign Alessandro Mendini, 1986\nZabro \ndesign Alessandro Mendini, 1984\n",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.5.png","4 - 5 \nedizioni\nSinger\nZabro\nSedia per visite brevissime\nOggetto d’arte a forma \ndi sedia. Nove esemplari \nnumerati e fi rmati. Struttura \nin noce lucidato a cera, colore \nnaturale con intarsi. Sedile \nin alluminio anodizzato. Ogni \nserie è caratterizzata da un \ndiverso colore del sedile. \nChair for very brief visits\nArt object in the form of a \nchair. Nine originals numbered \nand signed. Frame in natural \ncolour, wax-fi nished walnut. \nAnodised aluminum seat. Each \nseries features a diff erent \nseat colour. \nC – Fondazione Triennale Design  \n Museum, Milano\n5000 \ndesign \nBruno Munari, 1945 \nTavolo-sedia\nEsemplare fi rmato. Piano e \nsedile in legno laccato con \ndecoro policromo decorato \na mano. Braccioli rivestiti in \npelle. La sedia si trasforma in \ntavolo ribaltando il piano.\nTable-chair\nSigned original. Top and \nseat in lacquered wood with \npolychrome hand-decoration. \nLeather-covered armrests. \nThe top folds down to convert \nthe chair into a table.\n5060\ndesign \nAlessandro Mendini, 1984\n1105\n20\n35\n93\n50\n137\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.6.png","6 - 7 \nedizioni\nHispo\nSirfo\nTavolino-fi ore\nEsemplare fi rmato. Base in \nfusione di alluminio, gambo in \nacciaio e piano in legno, colore \nverde. Decorazione in mosaico \npolicromo incassato nel piano.\nFlower-table\nSigned original. \nCast aluminum base and steel \nleg, with green wooden top. \nPolychrome mosaic decoration \nbuilt into top.\n6500\ndesign \nAlessandro Mendini, 1986\nTavolino-papera\nEsemplare fi rmato. Struttura \nin fusione di alluminio \nverniciata, colore naturale, \ncon “becco” verniciato giallo. \nPiano in cristallo temperato, \nspessore 6 mm.\nGoose-table\nSigned original. Frame in \nnatural colour painted cast \naluminum, with yellow painted \n“beak”. Tempered plate glass \ntop, thickness 6 mm.\n6520\ndesign \nAlessandro Mendini, 1986\n70\n60\n73\n55\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.7.png","8 - 9 \nedizioni\nMacaone\nAgrilo\n7020\ndesign \nAlessandro Mendini, 1985\nConsolle\nEsemplare fi rmato. Struttura \nin legno laccato, colore nero. \nBordo decorato a mano, colori \nblu e verde. Piedini in ottone \nargentato. Piano in cristallo \nverniciato, colore nero.\nConsole-table\nSigned original. Frame in \nblack lacquered wood. Hand-\ndecorated edge in blue and \ngreen. Feet in silver-plated \nbrass. Top in black painted \nplate glass.\n7400\ndesign \nAlessandro Mendini, 1984\nTavolo\nEsemplare fi rmato. Piano in \nMDF e gambe in poliuretano \nrigido con struttura in acciaio \nverniciato nei colori rosso, blu, \ngiallo, verde. Piedini in lega di \nalluminio lucidato.\nTable\nSigned piece. MDF top and stiff  \npolyurethane legs with steel \nframe painted in the shades \nof red, blue, yellow, green. \nPolished aluminium alloy feet.\n160\n73\n140\n90\n40\n80\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.8.png","10 - 11 \nedizioni\nCalamobio\nCetonia\nCassettone\nNove esemplari numerati e \nfi rmati. Struttura e piedini \nin legno, intarsio policromo. \nManiglie in alluminio \nanodizzato, colore rosso. \nInterno cassetti in faggio \nnaturale. Ogni serie è \ncaratterizzata da una diversa \nsequenza dei colori degli \nintarsi di legno posti sul fi anco \ndestro del mobile.\nChest-of-drawers\nNine originals numbered \nand signed. Frame and feet \nin wood, polychrome inlay. \nHandles in red anodised \naluminum. Drawer interiors \nin natural beech. Each series \nfeatures a diff erent colour \nsequence of the wooden inlays \nplaced on the right side of \nthe cabinet. \nC – The Montreal Museum \n \n  of Fine Arts\n7820\ndesign \nAlessandro Mendini, 1985\u002F88\n8\nCassettone\nEsemplare fi rmato. Struttura \nin legno laccato con decoro \npolicromo decorato a \nmano. Maniglie in alluminio \nanodizzato, colore naturale. \nInterno cassetti in legno \nlaccato, colore grigio.\nChest-of-drawers\nSigned original. Lacquered \nwood frame with polychrome \nhand-decoration. Handles in \nnatural anodized aluminum. \nDrawer interiors in grey \nlacquered wood. \nC – Indianapolis Museum of Art\n7860\ndesign \nAlessandro Mendini, 1984\n112\n44\n82\n54\n120\n88\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.9.png","12 - 13 \nedizioni\nMikiolone\nMombasa\nMobile bar\nNove esemplari numerati \ne fi rmati. Struttura in legno \nlaccato in vari colori. Gambe \nin legno tornito, laccato colore \nargento. Piani in cristallo, \nspessore 20 mm.\nBar cabinet\nNine originals, numbered \nand signed. Wooden frame \nlacquered in various colours. \nLegs in turned wood lacquered \nin the shade silver. Tops in \nglass, thickness 20 mm. \nC – Design Museum, Gent\n7521\ndesign \nAlessandro Mendini, 1986\nCassettiera\nEsemplare fi rmato. Struttura \nsuperiore, piano cassettiera \ninferiore e piedi in multistrati \nimpiallacciato in frassino \nverniciato a poro aperto, \ncolore testa di moro. Struttura \ninferiore e cassetti in pero \nlucidato. Pomoli in ottone. \nChest of drawers\nSigned original. Upper frame, \nlower drawer top and feet \nveneered in open pore dark \nbrown painted ash. Lower \nframe and drawers in polished \npear-wood. Handles in brass. \n7800\ndesign \nEttore Sottsass, 1989\n162\n110\n53\n82\n58\n143\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.10.png","14 - 15 \nedizioni\nNairobi\nCarabo\nMobile bar\nEsemplare fi rmato. Struttura \nin multistrati impiallacciato \nin tranciato precomposto \n(disegno di E. Sottsass), colore \nrosso. Basamento e struttura \ninterna con cassetto e ribalta \nin legno tinto nero. Pomoli \nin ottone. \nBar cabinet\nSigned original. Red veneered \nlaminate frame (design E. \nSottsass). Base and inner \nframe with drawer and fold-\ndown tray in black stained \nwood. Brass handles.\n7500\ndesign \nEttore Sottsass, 1989\nSedia\nEsemplare fi rmato. Sedile in \nmultistrati impiallacciato \nin pero lucidato. Schienale in \nmultistrati impiallacciato \nin frassino, laccato a poro \naperto nei colori lilla, rosa e \nverde. Cuscino rivestito in \ntessuto nei medesimi colori.\nChair\nSigned original. Seatrest \nin polished and veneered \npearwood. Backrest in open \npore veneered ash, lacquered \nin lilac, pink and green. Cushion \nfabric in the same shade.\n5020\ndesign \nEttore Sottsass, 1989\n42\n51\n85\n47\n85\n55\n190\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.11.png","16 - 17 \nedizioni\nGenesio\nPompei\nCassettiera\nEsemplare fi rmato. Struttura \nin legno impiallacciato in \nradica di diversi colori. \nManiglie in fusione di bronzo \nrappresentanti la Genesi.\nChest-of-drawers\nSigned original. Wooden frame \nveneered in walnut-root in \nvarious colours. Cast bronze \nhandles represent the Genesis.\n7810\ndesign \nAlik Cavaliere, 1990\n1\nTavolino\nPiano con decoro in tarsia di \nmarmi policromi. Struttura in \nacciaio sabbiato e nichelato. \nOccasional table\nTop with polychrome marble \ninlay. Sandblasted and nickel-\nplated steel base.\n6860\ndesign \nAlik Cavaliere, 1992\n80\n43\n50\n50\n130\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.12.png","18 - 19 \nedizioni\nAlchera\nAlicante\nCassapanca\nEsemplare fi rmato. Struttura in \nlegno di olmo. Pannelli in acero \ncon intarsi policromi. Interno \ncon cassetto a ribalta. \nChest\nSigned original. Elm-wood \nframe. Maple panels with \npolychrome inlays. Inside with \ndrop-front drawer. \n7780\ndesign \nJoe Tilson, 1992\nMobile da camera\nEsemplare fi rmato. Struttura in \nlegno con intarsio policromo. \nInterno con cassetto ed asta \nappendiabiti.\nBedroom piece\nSigned original. Wooden frame \nwith polychrome inlay. Inside \nare a drawer and a rod for \nclothes hangers.\n7880\ndesign \nAlik Cavaliere, 1990\n90\n62\n180\n130\n50\n60\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.13.png","20 - 21 \nedizioni\nBruno Munari\nNato a Milano nel 1907, partecipa \ngiovanissimo al movimento futurista, \nesponendo in varie mostre. Dal \n1939 al 1945  lavora come grafi co \npresso l’editore Mondadori e come \nart director della rivista Tempo, \ncominciando contemporaneamente \na scrivere libri per l’infanzia. Nel \n1948 fonda il MAC (Movimento Arte \nConcreta) un movimento atto a \npromuovere l’arte non fi gurativa, ed \nin particolare un tipo di astrattismo \nlibero da ogni imitazione e riferimento \ncon il mondo esterno, di orientamento \nprevalentemente geometrico. \nÈ uno dei massimi protagonisti \ndell’arte, del design e della grafi ca \ndel XX secolo, dando contributi \nfondamentali in diversi campi \ndell’espressione visiva (pittura, \nscultura, cinematografi a, design \nindustriale, grafi ca) e non visiva \n(scrittura, poesia, didattica) con \nuna ricerca poliedrica sul tema del \nmovimento, della luce e dello sviluppo \ndella creatività e della fantasia \nnell’infanzia attraverso il gioco. Dopo \nvari e importanti riconoscimenti in \nonore della sua vastissima attività, \nMunari realizzò la sua ultima opera \npochi mesi prima di morire nel 1998, \na 91 anni, a Milano.\nBorn in Milan in 1907, he soon joined the \nFuturistic movement, taking part in various \nexhibitions. From 1939 to 1945 he worked as a \ngraphic with the publisher Mondadori and as \nart director of Tempo magazine, while started \nto write children’s books. In 1948 he founded \nthe MAC (Concrete Art Movement), a movement \npromoting non-fi gurative art, and in particular \na kind of abstraction free from imitation and \nreference with the outside world, which mainly \nhad geometric orientation. \nHe was one of the leading protagonists of art, \ndesign and artwork of the XX century, making \nfundamental contributions in several fi elds of \nvisual art (painting, sculpture, cinematography, \nindustrial design, graphic design) and non-\nvisual art (writing, poetry, teaching) with a \nmultifaceted research on movement, light and \ndevelopment of creativity and imagination of \nchildhood through play. After several important \nawards in honor of his vast activities, Munari \nmade his last work a few months before his \ndeath in 1998 at age 91, in Milan.\nbiografi e \u002F \nbiographies\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.14.png","22 - 23 \nedizioni\nEttore Sottsass\nNato ad Innsbruck nel 1917. \nLaureatosi nel 1939, inizia la sua \nattività a Milano nel 1947. Si dedica \nalla ricerca ed alla sperimentazione \nformale nei più diversi settori \ndell’espressione. Partecipa a \nnumerose edizioni della Triennale \ndi Milano e, nella XV edizione, \nè Commissario della Sezione \nInternazionale.\nNegli anni ‘70 è uno dei protagonisti \ndell’architettura radicale ed è tra \ni fondatori della Scuola di libera \ncreatività individuale “Global Tools”, \nintervenendo intanto sulle riviste \nDomus e Casabella. Partecipa alle \nprincipali mostre di design e gli \nvengono dedicate anche numerose \npersonali. È stato l’ideatore di \nMemphis, uno dei fenomeni più \ninteressanti nel campo del design del \nmobile e dell’oggetto.\nSvolge un’eterodossa attività \ndidattica, accompagnando ai suoi \nviaggi di ricerca sulle culture più \ndiverse conferenze e seminari \nin tutto il mondo, ottenendo tra i \nnumerosi riconoscimenti la laurea \n“honoris causa” del Royal College \nof Art di Londra. Le sue opere e i \nsuoi interventi critici sono pubblicati \ndalle principali riviste internazionali \ndi architettura e di design e sono \ndocumentati nella saggistica e in \npubblicazioni a lui dedicate.  Ha \ncollaborato con Zanotta dal 1981. \nMuore nel 2007.\nBorn in Innsbruck in 1917, he got his degree in \n1939 and started his career in Milan in 1947. \nHe was involved in research and formal \nexperimentation in a variety of fi elds of \nexpression. He participated in many of Milan’s \nTriennale shows; he was a Commissioner in the \ninternational Section of the 15th exhibition.\nDuring the 1970s Sottsass played a lead part \nin radical architecture and was among the \nfounders of the School for free creativity “Global \nTools”; at the same time he wrote for Domus \nand Casabella. He took part in the major design \nexhibitions and also staged in numerous one-\nman shows. He was the conceiver of Memphis, \none of the most interesting phenomena in the \nfi eld of furniture and object design. \nHe did various kinds of teaching; along with his \ntrips abroad to research on various cultures, he \nheld lectures and seminars around the world, \nachieving a lot of acknowledgments, including \na “honorary” degree at the London Royal \nCollege of Art. His works and critic interventions \nare featured in the leading international \nreviews of architecture and design and they \nare documented in essays and monographs \ndedicated to him. He has been working for \nZanotta since 1981. He died in 2007.\n \nAlessandro Mendini\nNato a Milano nel 1931. È stato socio \ndello studio Nizzoli Associati fi no \nal 1970. È stato socio fondatore \ndella Libera Scuola per la creatività \nindividuale “Global Tools”. Dal 1970 \nal 1976 ha diretto la rivista Casabella, \nquindi ha diretto Modo dal 1977 al \n1981 e dal 1979 al 1985 Domus, di \ncui ricopre nuovamente il ruolo di \ndirettore nel 2010.  Associato allo \nstudio Alchimia è stato consulente \ndi numerose industrie sui problemi \nd’immagine e di design. \nHa affi  ancato alla produzione di \narchitettura e di mobili un’intensa \nattività di mostre, seminari e docenze \nlibere in Italia e all’estero. Autore \ndi alcuni libri sulle problematiche \ndel design, è stato membro del \ncomitato scientifi co della Domus \nAcademy. Presente, con critiche \ne pubblicazioni, sulle principali \nriviste internazionali del settore, è \nil principale autore della collezione \nZabro. Alessandro Mendini ha \ncollaborato con Zanotta dal 1982 fi no \nalla sua scomparsa nel 2019.\nBorn in Milan in 1931. He was a partner in the \nNizzoli Associati practice until 1970. He was \na founding member of the Free School for \nindividual creativity “Global Tools”. From 1970 \nto 1976 he directed Casabella; from 1977 to 1981 \nhe directed Modo and Domus from 1979 to 1985. \nStarting from 2010 he was again the director of \nDomus. He was a partner in the Alchimia studio \nand an image and design consultant for a host \nof manufacturers.\nBesides his architecture and furniture design, \nhe organized a multitude of exhibits, seminars \nand free lectures in Italy and abroad. He was \nthe author of several books on design and was \non the advisory panel of the Domus Academy. \nHis critiques and essays appear in the chief \ninternational trade journals. He is the principal \nauthor of the Zabro collection. Alessandro \nMendini has been working for Zanotta since \n1982 until his death in 2019.\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.15.png","24 - 25 \nedizioni\nAlik Cavaliere\nNato a Roma nel 1926. Ha vissuto a \nMilano, dove, terminata l’Accademia \ndi Belle Arti di Brera, ha continuato \ngli studi presso la facoltà di Lettere \ndell’Università Statale. Ha insegnato \na Brera per 31 anni, titolare della \ncattedra di scultura. Nel suo lavoro \ndi scultore, per necessità espressive, \ncomunicative ed estetiche, di \nlinguaggio, ha trasgredito spesso - \nma non sempre - le regole e la tecnica \nomologata. \nIn oltre quarant’anni di attività, \nha utilizzato i materiali più eterogenei; \ndai metalli tradizionalmente utilizzati \nin scultura come rame, bronzo, \nargento per passare a quelli meno \ntradizionali: acciaio, ghisa, ottone, \npiombo, similoro, tentando persino \ndi usare l’oro, per poi rivolgersi a \nplastiche, carta, parola, suono, stoff e, \nlegno, acqua, oggetti e manufatti \nrecuperati, porcellana, ceramica, \nterracotta, vetro, specchio, materiali \ndi recupero.  \nA Los Angeles ha lavorato sulla \n“traccia”, sul “vuoto”, determinando \nl’assenza dell’opera per provocare, \nstimolare la memoria, il ricordo \ndi qualcosa che era accaduto in \nprecedenza, di ciò che era stato. \nDalla sua prima mostra personale del \n1951, ne fanno seguito numerosissime \nin tutto il mondo.  E’ scomparso a \nMilano nel 1998.\nBorn in Rome in 1926, he lived in Milan where\nhe trained at the Brera Fine Arts Academy \nand then studied Literature at the Milan State \nUniversity. He taught as professor of sculpture \nat the Brera Academy for 31 years. As sculptor \nhe often broke, but not always, the rules and \ninfringed the approved technology, for his own \nexpression, communication and aesthetic \nneeds in language. \nDuring his 40 years activity, he used many \ndiff erent materials: from the traditionally metals \nused in sculpture, like copper, bronze, silver to \nthe less traditional ones: steel, cast-iron, brass, \nlead, imitation-gold. He then used a variety of \nplastics, paper, words, sound, fabrics, wood, \nwater, artifacts and objects trouvés, porcelain, \nceramics, terra-cotta, glass, mirrors and \nrecovered materials too. \nIn Los Angeles he worked on the “trace,” on \n“void,” leaving the absence of a work, in order \nto provoke, to stimulate one’s memory, the \nremembrance of something that had happened \nbefore, something that was. His fi rst solo show, \nin 1951, was followed by many around the world. \nHe died in Milan in 1998.\nJoe Tilson\nJoe Tilson è nato a Londra nel 1928. Studia alla \nSt. Martin’s School of Art e al Royal College of \nArt. Vince il premio Roma nel 1955. \nNel 1958 insegna alla St. Martin’s School of \nArt e, quindi, alla Slade School, alla University \nCollege e al Kings College, successivamente \nall’Università di Durham, a Newcastle-upon-\nTyne. Tiene la sua prima mostra personale a \nLondra nel 1962 e nel 1964 viene invitato alla \nBiennale di Venezia ed al Padiglione Inglese \nalla Triennale di Milano. Nel 1966 insegna a \nNew York alla School of Visual Art e nel 1971 alla \nHochschule di Amburgo. \nVince il primo Premio alla V Biennale di Cracovia \nnel 1974 e nello stesso anno viene allestita una \nmostra retrospettiva delle sue opere al Museo \nBoijmans-Van Beuningen di Rotterdam. Nel \n1976 viene invitato a Milano, a Palazzo Reale, \nnella mostra organizzata con il British Council \n“Arte Inglese Oggi”, le Edizioni Pre-Art di \nMilano gli dedicano un’importante monografi a. \nNel 1979 tiene un’importante retrospettiva \ndi grafi ca alla Art Gallery di Vancouver.  Nel \n1982 le Edizioni d’Arte Vanessa gli dedicano \nuna monografi a nella serie dei “Maestri \nContemporanei”, con un testo di Gillo Dorfl es \nper l’edizione italiana, di Michael Compton per \nl’edizione inglese. Nel 1983 partecipa con Giò \nPomodoro e Ipoustéguy alla mostra “Le materie \ndell’opera”, realizzata a Volterra dal Prof. \nAntonio Del Guercio.Altre mostre sono nel 1984 \na Bristol, nel 1985 a Venezia, nel 1987 a Lubiana, \nnel 1989 a Milano ed a San Giovanni Valdarno, \nnel 1990 a Cortona e nel 1991 a Plymouth, ad \nAosta, e alle Waddingtum Galleries di Londra. \nLe sue opere sono conservate nelle più \nimportanti gallerie e musei di tutto il mondo.\nHe was born in London in 1928.\nHe studied at the St. Martin’s School of Art and \nat the Royal College of Art. He won the Rome \nPrize in 1955. In 1958 he taught at the St. Martin’s \nSchool of Art, later at the Slade School, the \nUniversity College and the Kings College.\nLater on, he taught at the University of Durham, \nin Newcastle-upon Tyne. Tilson’s fi rst one-man \nshow was in London in 1962; in 1964 he was \ninvited to the Venice Biennale and the British \nPavilion at the Milan Triennial. In 1966 he was in \nNew York, teaching at the School of Visual Art; \nin 1971 he taught at the Hamburg Hochschule.\nHe won fi rst prize at the fi fth Krakow Biennial \nin 1974. During the same year, a retrospective \nof his works was held at Museum Boijmans-\nVan Beuningen in Rotterdam. In 1976 he was \ninvited to Milan for the exhibition staged by the \nBritish Council in the Palazzo Reale, “British Art \nToday”. Edizioni Pre-Art in Milan printed a major \nmonograph on his works.\nIn 1979 an important graphical retrospective was \nheld at the Vancouver Art Gallery. \nIn 1982 Edizioni d’Arte Vanessa published a \nmonograph on him, with an essay by Gillo \nDorfl es for the Italian edition and one by Michael \nCompton for the English edition. \nIn 1983 he participated, with Giò Pomodoro \nand Ipoustéguy, in the exhibit “The Materials \nof Works” organized in Volterra by Antonio \nDel Guercio. Tilson has staged other shows in \nBristol (1984), Venice (1985), Ljubljana (1987) \nMilan and San Giovanni Valdarno (1989). In 1990 \nhe exhibited in Cortona, in 1991 in Plymouth, \nAosta and London’s Waddingtum Galleries.\nTilson’s works are owned by the leading \ngalleries and museums throughout the world.\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.16.png","note:\n",16,{"image":77,"text":74,"number":78},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.17.png",17,{"image":80,"text":74,"number":81},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.18.png",18,{"image":83,"text":84,"number":85},"\u002Fmedia\u002Fimages\u002F24\u002F66f47109cecf0d06eddb7892c7a1a8-285e0864d5.19.png","Dal 1992 Fondazione Altagamma riunisce \ni marchi dell’eccellenza italiana famosi a \nlivello internazionale.\nSince 1992 the Altagamma Foundation \nhas gathered together high-end Italian \nbrands famous at international level.\nZanotta è certificata secondo \nle norme internazionali UNI EN ISO 9001 \nper i sistemi di gestione per la qualità \ne OHSAS 18001 per la sicurezza e salute \nsui luoghi di lavoro.\nZanotta is certified according to \ninternational standards UNI EN ISO 9001 \nfor the quality management systems \nand OHSAS 18001 for the safety and \nhealth in the workplace.\nZanotta spa si riserva di apportare, senza preavviso, \nmodifiche nei materiali, nei rivestimenti, nelle finiture \ne nei disegni dei prodotti presentati in questo catalogo. \nLe textures ed i colori dei materiali e delle finiture hanno \nvalore indicativo in quanto soggetti alle tolleranze dei \nprocessi di stampa.\nZanotta spa reserves the right to change, without \nprevious notice, materials, covers, finishes and \ndrawings of the products presented in this catalogue. \nThe textures and colours of materials and finishes \nare indicative as they are depending on the tolerances \nof the printing process.\ngraphic design\nStudio Sonnoli\npre-press\nDIODO, Milano\nprinting\nOptima \ncopyright © 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