Enzo Mari in 10 projects

10 essential works by Enzo Mari that one should cover before going to the exhibition at the GAM in Turin, on show until the 6th of January.

I 16 animali - 16 animal puzzle, 1957

The project was developed in 1957 but produced later in 1965 since the company 'Danese' was (as often producers are) somewhat skeptical in regard. 16 animals, a few lines, immediately recognized by the perfect fits. Perhaps a depicted utopia of a happy co-existence, or perhaps merely a puzzle challenge like an impossible cross-word or the magic square; the hippopotamus must fit perfectly with the camel that must itself fit perfectly with the ant-eater and the giraffe must fit perfectly with the snake that fits around the tail of the fox... in a square world, where everything, fits.

Cestino In attesa - In attesa basket, 1970

Ever heard of ergonomy through radiation rather than through direct contact? When an object does not make itself more comfortable for the human form through direct contact between the two, the contact remains in the air. And it's accomplished, nevertheless, by good team work.

Vaso rotto, Per forza di levare - Broken Vase, 1994.

E.M. says: "With a single bat swing, skillfully executed upon a porcelain cylinder, a different shape is discovered each time, yet each shape is complete in its expression. Hand made means, primarily, hand thought."

Serie della natura, L'oca - Nature series, The goose, 1967

It is said that to accomplish this drawing, Enzo Mari drew a whole series of goose heads, each time trying to eliminate the unnecessary while adding more information. Best goose head around.

Tavolo Frate, Frate table, 1973, wood, iron and glass.

A wooden slate, four iron bars bent in the right places, a crystal surface and two small spacers. All is reduced to its minimum. The table.

Putrella, Girder, 1958

A girder that becomes a tray. And already we seem to forget what it was before. Our brain tends to record minimal signs that give us major information. The passage of the these two inversely proportional worlds occurs in two simple and subtle bends.

Vasi fitomorfici bambù, Phytomorphic bamboo vases, 1969

Sewage tubes acquire the righteous elegance of vases when their section is uncovered and glorified.

Strutture, Structures, 1955

Mari's structures need light, shadow and eyes that may record these effects and communicate them to our brain. The structures are the prelude of Mari's passage from art to design.

Diecimila millioni di alberi di Sugi, Ten thousand millions of Sugi trees, 2005

Sugi cypresses endanger the lives of other plants because there are simply too many of them. For a designer, this is a good thing. Sugi cypresses have an overly tender wood and are also full of knots. This is, on the other hand, not a good thing. But the keen eye of Mari's genius sees this situation as an opportunity to lower the cost of this primary material, which, if treated properly, could compete with full weight wood that is tougher and more expensive to treat. A great result lies also within its own premise.

Calendario perpetuo Timor, Perpetuous calendar Timor, 1966

It's like when a magician fans out a set of cards and asks us to pick one. Each day always exists.