Where and when
Who
Livia Frescobaldi
Curator
Cristiana Perrella
Director of Centro per le arte contemporanea Luigi Pecci di Prato
Francesco Vezzoli
Artist
It happens at the Museo Novecento, where Monday, Dcember 2 at 6:00pm the presentation of the volume “Gio Ponti. The collection of the Richard-Ginori Museum of the Doccia Factory” curated by Livia Frescobaldi, Maria Teresa Giovannini and Olivia Rucellai (Maretti Editore) will take place. The catalog presentation, which includes the entire collection of Ponti ceramics (about 450 pieces) kept in the Richard-Ginori museum of the Doccia Factory, will be attended – together with the artistic director of the Museum Sergio Risaliti -by the curator Livia Frescobaldi, the director of the Luigi Pecci Center for Contemporary Art in Prato Cristiana Perrella and contemporary art superstar Francesco Vezzoli.
Vezzoli already engaged as curator of exhibition projects, not least the one at the Musée d’Orsay in Paris for the exhibition dedicated to Joris-Karl Huysmans, author of À rebours, will curate the exhibition “Casa bella. Martino Gamper, Francesco Vezzoli and Gio Ponti’s ceramics ”at the Luigi Pecci Center for Contemporary Art in Prato. At the Museo Novecento the artist will talk about his passion for the work of the Milanese architect and designer and his interest in collections and collecting.
Gio Ponti. The Collection of the Museum Richard-Ginori of the Doccia Factory
It is an editorial project of the Amici di Doccia Association dedicated to the complete catalog of Ponti’s works at the Doccia Museum and starts from the research work on iconographic sources, carried out by Maria Teresa Giovannini on the occasion of her degree thesis in 2007. The volume aims to give the corpus of the ceramics in the collection a precise chronological order, currently missing, based on the counting of the correspondence and all the documentation preserved in the Museum’s archive. The ceramics designed by Gio Ponti for Richard-Ginori are well known to collectors and design scholars around the world. Their aesthetic qualities, due to the originality of Ponti’s inventions and impeccable execution, are often exalted, but no one had in the past undertaken a systematic philological study of the entire corpuscle preserved at the Doccia Museum (the most recent catalog dates back to 1983 : Gio Ponti Ceramiche 1923-1930 The works of the Ginori Museum in Doccia) and this volume and the related catalog entries aim to fill this gap.