“Super Superstudio. Art and Radical Architecture” is the exhibition set up in the Pavilion of Contemporary Art until January 6, 2016, curated by Andreas Angelidakis, Vittorio Pizzigoni and Valter Scelsi, on a route that connects Florence to Milan, the Sixties to the third millennium.
The historical group, founded in 1966 by Adolfo Natalini, Cristiano Toraldo di Francia Roberto Magris, Gian Piero Frassinelli, Alessandro Magris and (1970-1972) Alessandro Poli, talks in the display with the contemporary authors who were inspired precisely by that “super” revolution.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

With “Superarchitettura”, the founding exhibition of the group, organized at the Jolly Gallery of Pistoia on December 4, 1966 (exactly one month after the flood in Florence), emerged the Radical Architecture that challenged the boundaries between the arts and architecture, with icons reified or revived by the prefix that indicates a condition of superiority, uniqueness, excess: “super production”, “superconsumption”, “superinduction to superconsumption” … Architecture sought to deal with the relationship between life and project through a radical anthropological refounding; the architecture of the world to come. “Observing the work of Superstudio in 2015, we realize that it is not just radical but also prophetic.” How can one not agree with Angelidakis?

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio was truly avant-garde that “used the traditional tools of architecture (drawings and projects) to create a critique not only of architecture itself with its current ideas, but also of society in general itself”.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

1. Life
“Presence / Absence”, exhibited for the first time in 1977 as “a hypothesis for architecture”, is a long wall hosting presents and absents. They are pairs of “refractory tablets” divided by a line of 17 m and linked by a piece of string. They are fragile tombstones that represent the desire of the avant-garde protagonists to switch to a plan of ongoing education. They are the symbol of the anthropological structure of needs (“Presence”) and disciplinary reconstruction (“Absence”). The white wall of the PAC in Milan houses the symbolic words, the key concepts and the names of “militants”, “Archizoom Associati” – “Robert + Leo Kier “, “9999” – “OMA”, “Abraham-Venturi”, “Superstudio -Isozaki “… But before getting to 2015, let’s go back to 1966.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

2. Education
“Where do you think you are going along the road of utopia?”. “Disorientation”, “Scale transposition”, “assemblage”, “assembly”, “breakdown”, “repetition and iteration”, “contamination”: these are some of the terms of the Superstudio vocabulary. Starting from the principle that an object removed from its context and put in another assumes a new relationship, one enters a new perspective and a new vision of architecture mediated by the architecture machine. After the “Three hidden architectures”, but not invisible, made of conceptual manipulations, mirrors and reflections of “Florentine”, it appears the first of the “Twelve ideal cities”: the “City 2000 t.” is a single uninterrupted building, where there is no death and it is itself a producer of life and of new sons of the city, living in complete equality. The “City time cochlea” is a huge worm that rotates continuously and slowly makes a turn on itself a year. “The New York of Brains” is a cube 55 meters high covered with quartz tiles of 25 x 25 cm, in the heart of New York, Central Park. I look in the central cavity and I see its citizens: 10000456 brains, destined to survive humanity and be alone when this will be destroyed. I look up and above me a “spaceship City” is passing. In the “City of the hemispheres”, 10.044.900 crystalline sarcophagi host each individual.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

To enter “The magnificent and fabulous Barnum jr.’s City”, with its red and blue circus tent, you need to pay a deposit. The “continuous belt production City” walks and it is comparable to a huge snake with at its head the Great Factory. The “cone- shaped City with steps” is structured by 1,628,250 doors that open to the outside world and each inhabitant receives orders from a “controller”, a small metal plate to which it would be theoretically possible to disobey. The “Inhabited Machine City” is so large that even those who live there have no idea of ​​its size: one only knows that he will be dragged relentlessly by conveyor belts, chutes and pneumatic hoses from birth to death. The “City of the order” and has nothing healthy, the mayor who has been ruling undisturbed for 45 years and the model citizens who have a miniaturized mechanism in the head and in the chest and abdomen expanded polystyrene pellets. No one knows why. In the “City of beautiful homes” residents whose sole aim is to build the most beautiful house; the interior space is small, so it is the exterior that has to become great. Finally the dream “City of the Book”, in which, the book that all citizens carry around their neck by means of a chain is the spirit of the city.
Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

3. Ceremony
“About the fact that the world is round and it rolls it seems that there is no more to discuss. There is still to be discussed about how to live on”(Superstudio,”Invention Design and Evasion Design”,”Domus”, 1969). Superstudio was dedicated to the “strategy of living” trying to preserve our lives, suggesting alternative ways to stay in our homes, in our cities and to save the centers of Italian history: to live in freedom. The ceremonial is in ideas, projects and works, in objects and lights. The “Theatre of mirrors” is an alternative design model on a reduced scale, dominated by mirrors and atmospheric events reflected. “Bazaar” hugs me, the sofa that at first glance looks like a shell of Venus, but which refers to Cinderella’s magic pumpkin. At its liking, it reveals and conceals. “Passion” and “Gherpe” free intermittent light, which shines of pure energy in the reproduction of “Supersurface”. In a dark room, I follow the light steps of this “mental attitude” model. The elements that compose it are minimal and represent a visual-verbal metaphor for orderly and rational distribution of resources, free from the slavery of objects as an invitation to the consumer …

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio points a way towards rationalism and minimalism with “Histograms”, white homogeneous and isotope facilities with which to build anything without effort. So I insinuate between their geometries, I am of their own color, I can assume their identical form … but I will not become a “statue of salt”, as “Lot’s Wife”, exhibited at the Venice Biennale in 1978.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Water continuously drops: hour after hour, day after day, year after year, the body changes, changes shape, shows the essence; while the inert waiting it would fossilize the substance.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Symbol and reality get married: “Lot’s Wife”, with its five architectures of salt, which by melting reveal something that can only be interpreted and not defined, may represent the anti-monument?

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

4. Love
“Fundamental Act” as an existential meditation of Superstudio is the “Continuous Monument”, “an architecture all equally emerging into one continuous environment: the land made homogeneous by technology, culture and all other imperialisms’; the point towards which to strive “for who like us is convinced that architecture is one of the few means to make the cosmic order visible on earth, to put an order among things and above all to affirm the human capacity to act according to reason.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

It is “moderate utopia” imagine a future in which all architecture is produced by a single act, by a single “design” able to clarify […] the reasons which prompted the man to raise dolmens, menhirs, pyramids, and design square, circular, star-shaped cities, and finally to score (last ratio) a white line in the desert “(“Superstudio: discorsi per immagini”,”Domus”, 1969).

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

5. Death / Rebirth
Histograms, or “The Tombs of Architects”. But the revolution of Superstudio talks today with the works of 21 contemporary artists. “From A to B via C (museum version)” by Alexandra Bachzetsis: unwittingly I became a part of a single body composed exclusively of bodies, without objects, stripped of everything, even of its own identity. Louise Lemoine and Ila Beka are wondering whether the new buildings really have any use or whether it would be better to maintain the existing ones. Petrit Halilaj and Alvaro Urbano wonder about the priorities of the relations between the species proposing the ancestral question referred to by the curator: Which came first, the chicken or the egg? There is no answer. Instead, you can ask a new question: the “Cubewaeve” by Jim Isermann is perhaps part of the “Invisible House”? Superstudio was inspired by the holy Kaaba and the Taj Mahal. A square block of stone resting on the ground is a primary act, sacred between man-machine-life-history.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Following the road signs by Patrick Tuttofuoco, in “Jaipur”, I thought to find myself on a desert “Supersurface” made of grids shaped human figures, like those of RO / LU, until I met the blue-haired girls and men from the white hair of Daniel Keller and Ella Plevin. In “Pure-Disclosure” the inhabitants of the New World accumulate books and algae in aquariums and live on a platform in the water, the cradle of their nights. It is the “superexistence”. Among all digital architectures created by the Internet, is it possible to escape this “superconnectivity”? according to Angelo Plessas, absolutely yes. It would be enough to just meet, exchange ideas and not just like, to talk and do not write aseptically words on keyboards. I sheltered under a fictitious ancient monument on which a luminous center shows: “Free Wi-Fi”. “Superantiquity” or “supermodernity”?

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Riccardo Previadi calls into question the promises of progress made by our time. Would not it be better to live in a thirteenth “Ideal City”? It could be the new “Sun House”, as the one designed by Pae White. Straining my eyes to the “Continuous Monument”, I come across the work by Danai Anesiadou: IKEA vacuum bags that collect life, his and others’ objects. The artist has vacuum the air at her memories in accumulation and continues to explore the happiness that each place offers her.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

As art exile, like I am along with many others, I realized that in my “continuous” journey on an infinite lattice , I will continue to seek the roots of creativity, through needs, dreams and desires.

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

Superstudio, PAC MIlano, Eloisa Reverie Vezzosi

#supersuperstudio #followtheartgirl

Credits:
Special thanks to Mila Schön
Hair: Grazia Basso Parrucchieri
Photo: Viviana Bonafede 

AMOinfo:
“Super Superstudio. Arte e Architettura Radicale”
Andreas Angelidakis, Vittorio Pizzigoni and Valter Scelsi
PAC, Via Palestro 14, Milano

AMOlink:
pacmilano.it/super-superstudio
domus.it/archivio
atribune.com/mostra-superstudio
prismomag.com/superstudio