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Gae Aulenti, Toast, Trabo, 1997-2014

Food, since we moved on from eating it raw, must be cooked to be eaten. The exhibition Cucine e Ultracorpi (Kitchens and Body Snatchers), curated by Germano Celant together with Silvana Annicchiarico, presented in the space of the Design Museum, narrates the evolution of the instruments for food preparation. Through imaginative staging Italo Rota presents them like extraterrestrial creatures. Silver refrigerators, darkness lit by bluish light that filters from the open doors, seem to stem from Space Odyssey 2001. The whips of blenders, enclosed in a glass case, turn creaking, while the kitchens, all white in a neat row, draw a surreal landscape. Abstracted from the living environment, foreign to domestic use, museum-like, kitchen appliances reveal their robotic nature.

Gruppo 7, Piero Bottoni, Casa Elettrica, cucina, IV Triennale di Milano, 1930
Fabrizio Crisà, Ye, Elica, 2014
Fortunato Depero, Gas apparecchi Fargas, 1947
Electric stove type CN3 with three hot plates and oven, 1949, Tecnomasio Italiano Brown Boveri – Milano
Ideal Express, SIMERAC (Società Industriale Materiale Elettrico Rag. A. Cotechini), Ferrara, 1920-30
Roberto Pezzetta, Oz, Zanussi, 1998

Food, since we moved on from eating it raw, must be cooked to be eaten. The exhibition Cucine e Ultracorpi (Kitchens and Body Snatchers), curated by Germano Celant together with Silvana Annicchiarico, presented in the space of the Design Museum, narrates the evolution of the instruments for food preparation. Through imaginative staging Italo Rota presents them like extraterrestrial creatures. Silver refrigerators, darkness lit by bluish light that filters from the open doors, seem to stem from Space Odyssey 2001. The whips of blenders, enclosed in a glass case, turn creaking, while the kitchens, all white in a neat row, draw a surreal landscape. Abstracted from the living environment, foreign to domestic use, museum-like, kitchen appliances reveal their robotic nature.

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The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.