Wineries that promote art and new museum spaces
An increasing number of wineries are hosting artistic projects among the vines or within their facilities, transforming em into beautiful places of contemplation.
Whether it’s contemporary installations, photographic exhibitions, paintings, or sculptures, the goal is to offer visitors an immersive experience, combining the discovery of wines with the magic of art.
The impact of the artworks, skillfully integrated into the context, enhances the winery’s image while redefining the concept of space and function.
These two worlds – art on one side and wine on the other – by merging and collaborating, indeed facilitate the spread of culture even in less predictable places and the initiation of modern patronage.
The interventions, many of which are site-specific, are generally commissioned from key figures from both the national and international art scenes.
Numerous examples of this phenomenon can be found in our country, starting with the “Vendemmia d’Artista” organized by Ornellaia, which engages contemporary artists in the creation of artworks and limited-edition labels. Other examples include Buren’s mirros wall at Castello di Ama, the sculptures at Ca’ del Bosco – Franciacorta, the Carapace by Tenute Lunelli, the Frescobaldi Collection at the CastelGiocondo estate, and the Chapel of Barolo by the Ceretto family.
Among the clients of the SVC Winery Project who have embarked on this fascinating journey of association with art, Tenuta Mara certainly stands out. In May 2014, it enlisted a group of artists to bring life and color to the conical concrete vats.
These monoliths, used in winemaking, have a shape reminiscent of a wine glass and have been treated in accordance with the biodynamic philosophy of the estate.
Annalisa Matucci, a painter from Pisa who has exhibited at the Venice Biennale, reveals the technique she uemploys and discusses the exclusive use of natural substances in creating her artwork.
I studied extensively to find natural colors, materials, and textures that could align with the conceptual intent of the project. For the first layer, which acted as an adhesive, I chose a mineral—gypsum—which I applied with a spatula to enhance its textured effect. This allowed me to preserve the breathable properties of the vat while shaping the surface as I desired. The natural pigments I used in the second layer were diluted with a binding solution made from egg and ranged from violet to magenta to pearlescent platinum white. I Used a laser level to create and project geometric patterns onto my new ‘canvas,’ playing with contrasting shades. Finally, I applied a protective layer made from citrus extracts, which helped preserve the tulipe from the wear typical of a cellar.
