On June 10, 2025 Villa Carafa Belvedere on the Vomero exceptionally opens to the general public with “In-Natura,” a site-specific exhibition by Franco Mazzucchelli, curated by Sabino Maria Frassà. The initiative, the third stage of the FORMAE cycle promoted by Gaggenau, combines artwork, structure and design.
On June 10, 2025, the historic Villa Carafa Belvedere, often known as Palazzo Belvedere and positioned in theVomero district ofNaples, will terribly open its doorways to the general public to host the exhibition In-Natura by artistFrancoMazzucchelli (Milan, 1939). The initiative, curated by Sabino Maria Frassà, proposes an unprecedented dialogue between the inflatable artwork of the Milanese Mazzucchelli, seventeenth-century Baroque structure and the design of the brand new Expressive oven produced by Gaggenau.
“Franco Mazzucchelli is called the grasp of inflatables, however In-Natura reveals his most genuine essence: that’s, that he has at all times been the tailor of the invisible,” says Sabino Maria Frassà. “Mazzucchelli forces us to radically rethink the idea of kind. His artwork is pure motion, an motion that offers physique to the air, with out ever indulging in ornament or rhetoric of weight. Simply as in Luca Giordano’s work, by means of the parable of Niobe, there’s a reflection on measure and the stability between greatness and consciousness, so too Mazzucchelli reminds us, with poetic lightness, that life – like artwork – is however a steady breath: fragile, impermanent, very important. Mazzucchelli’s creative gesture, absolute but intrinsically gentle, is powerfully intertwined with Aristotle’s thought that matter is energy – chance of being – and kind is act – concrete realization of that being. Formless matter will not be absence, however openness to transformation. As Aristotle writes within the Metaphysics(IX, 8, 1050a): ’ἡ μὲν ὕλη δύναμις, τὸ δὲ εἶδος ἐνέργεια’ – ’Matter is energy, kind is act.’ Matter exists as chance, kind because the success of that chance. This exhibition reminds us that what’s alive will not be steady, however in turning into. Mazzucchelli’s artwork is an act of collective breath.”
“On the floor, within the Naples leg of the FORMAE undertaking, the interplay between Maestro Mazzucchelli’s distinctive creative language and the synthesis of know-how and aesthetic analysis that belongs to Gaggenau appears to suggest the juxtaposition of dissonant dimensions,” says Mistral Accorsi, Gaggenau Product & Model Communication Supervisor. “Quite the opposite, the encounter between Expressive ovens and the evocative lightness of artwork installations-which, to cite Shakespeare, are fabricated from the identical substance as dreams-composes a symphony of harmonic contrasts. This dialogue between matter and imaginative and prescient invitations us to mirror on the essence of creativity and human ingenuity, able to remodeling on a regular basis matter into kind, magnificence and that means.”
“What’s artwork, if not the try and form one’s ideas and share them with others? Artwork, for me, has at all times been an alternate, even earlier than a bodily object. The artifact is simply the start of a journey that opens to infinity, pushing past myself and past the current time,” provides Franco Mazzucchelli.
In-Natura represents the third stage of the FORMAE exhibition cycle, promoted by luxurious design model Gaggenau in collaboration with CRAMUM and Italy Sotheby’s Worldwide Realty. The undertaking, beneath the creative path of Sabino Maria Frassà, goals to reinforce a few of Italy’s most related historic buildings by means of a path that explores the transformation of matter into kind, thought and sweetness. After the levels in Milan and Florence, Naples is the brand new venue chosen for the continuation of this exhibition undertaking. The exhibition takes place within the rooms of the villa, a few of which have been frescoed by Luca Giordano, among the many biggest exponents of Neapolitan Baroque portray. Mazzucchelli’s creative intervention takes the type of a site-specific set up, designed to determine a dynamic interplay with the encompassing architectural surroundings. The works on show, all fabricated from clear supplies, generate a change within the spatial notion of the customer, who’s invited to rethink the surroundings as a dwelling entity in steady transformation. By means of inflatable buildings that unfold between embellished partitions and interval furnishings, the exhibition path induces a mirrored image on the connection between presence and absence, kind and vacancy, permanence and alter. The unique adoption of transparency in supplies accentuates the sense of impermanence and relativity: nothing is steady, each imaginative and prescient is topic to variation. The said objective is to beat the excellence between work and area, between object and surroundings, in favor of a fluid and interactive studying of kind.
On the coronary heart of the exhibition itinerary, the primary corridor hosts one of many exhibition’s central works: a totemic construction that homes Gaggenau’s new Expressive oven. The minimal traces of the equipment, impressed by the formal sobriety of Baussian thought, include inside them the Cubosphere, one in all Mazzucchelli’s best-known symbolic sculptures. It’s a geometric kind that visually synthesizes the strain between order and irregularity, an try and reconcile the roundness of the circle with the rigidity of the dice, evoking ideas of perfection and imperfection. On this framework, the kiln is not only a container, however a form of symbolic nonetheless, through which the interplay between artwork, know-how and design produces a brand new thought of matter. The title of the exhibition, In-Nature, remembers the ephemeral and on the similar time processual character of Mazzucchelli’s work. His inflatable works, already identified for city interventions such because the sequence Abbandoni, mirror on the instability of kind and the necessity for steady adaptation.
Notes on the artist
Franco Mazzucchelli, born in Milan on January 24, 1939, graduated in portray in 1963 and in sculpture in 1966 from the Brera Academy of Tremendous Arts. His profession is distinguished by participation in main occasions, together with the 1976 and 2024 Venice Biennale and the eleventh Rome Quadrennial in 1986. In 2022 he acquired the Alfredo d’Andrade Lifetime Achievement Award. Starting within the Nineteen Sixties, Mazzucchelli started pioneering analysis into using plastic supplies, shaping giant inflatable buildings designed to be deserted in public settings. With these interventions, conceived as acts of relationship between artwork, city panorama and nature, the artist redefines the connection between work and viewer, selling a participatory and shared artwork. The photographic and video documentation of his works emphasizes their dynamic integration with area. Because the second half of the Seventies, his PVC inflatable sculptures have developed into polyethylene installations, traversable by the general public and able to remodeling them into an lively a part of the work.
Within the Nineteen Nineties, his observe prolonged towards new aesthetic and social trajectories with the REC and A.ON.A. cycles, culminating within the Bieca Decorazione (BD) undertaking, which investigates the high quality line between visible seduction and provocation. To today, Mazzucchelli continues to experiment, pushed by a want to analyze new modes of notion by means of his signature components: plastic and air. Current solo exhibitions born from the collaboration with CRAMUM and curator Sabino Maria Frassà embody Non abbandonarmi! at Studio Museo Francesco Messina (Milan, 2015), Non ti abbandonerò mai at Museo del Novecento (Milan, 2018) and BI-FACE at Gaggenau Milano (2019). Additionally of be aware are installations comparable to Salvami Andata-Ritorno for Design Week 2018 and Quadreria 2050 on the Macro Museum in Rome. In parallel to his creative exercise, Mazzucchelli has taught Sculpture Methods and coordinated the Division of Multimedia Visible Communication on the Brera Academy, contributing to the coaching of quite a few younger artists.
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| Franco Mazzucchelli and Gaggenau in Naples: inflatable artwork and design within the baroque Villa Carafa |
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