Pinacoteca Giovanni and Marella Agnelli LINGOTTO 1915-2002

LINGOTTO 1915-2002

22 September 2002 – 21 September 2003

The structure that today welcomes us and beckons us to visit the Picture Gallery of the Giovanni and Marella Agnelli Fondation in the “Scrigno” (literally, jewel box or treasure chest, an extraordinary container that dominates the track level), is the fruit of a long historical and architectural process of development that, beginning at the turn of the twentieth century, came to its culmination and in fact inaugurated a new and different future, with the turn of the new millennium.

A long voyage through history, which did nothing to undermine the architectural power and freshness of the Factory designed by Mattè Trucco, and which wends its way with nonchalance to the Lingotto designed by Renzo Piano.

The exhibition is meant to document this span of time through the signs of changes by evoking the images that marked them.

Visitors are therefore invited to take a trip backward in time, from the Scrigno (or treasure chest) to the Factory, from the present to the past, to discover-or rediscover-the phases of this fascinating history.

The atmosphere is powerfully evocative, and the historical and scientific rigor of the contributions is accompanied by the power of the images and the presence of emblematic objects.

The design by Renzo Piano both opens the exhibition and offers an introduction to the Scrigno. Along the staircase suspended in space, we descend into history, surrounded by the sketches that marked Fiat advertising and publicity in the first half of the twentieth century, and which constitute the thread that the voyage follows.

The floor that greets us documents the moment of architectural reflection on the future of the Lingotto that took place through the Twenty Designs developed in the Eighties, on the one hand, and on the other compares the Turinese factory with its contemporary counterparts around the world.

As we continue we venture deeper into the history of the Lingotto Factory, accompanied by the virtual images of the models of cars that distinguished the first decades of production streaking by.

An installation concludes the voyage by summing it up, drawing us into a kaleidoscope of images that, as if in a dream, bring us back to the present.