For an artist who operates at the intersection of design and architecture, falling in love with Gio Ponti isn't difficult. Da Venezia's recent works provide an account of our productive and industrial reality, set against the backdrop of the coup d'état and the subsequent implementation of the neoliberal model (NL)by the Chicago Boys in Chile. This model effectively thwarted the attempt to transform a craft-based society into an industrial one, leaving us in the perpetual condition (until now) of a country dedicated to mining.

In the previous work titled "RepublIKEA," Da Venezia depicts the triumph of uniformity and standardization in the name of democratizing design and large-scale distribution. In Chile (considering our non-existent industry), this becomes fertile ground for consuming all the novelties of the year. In addition to the previous work, Da Venezia also revisits an artwork inspired by the YAGANDelaunay, the first car designed and produced in Chile. It imagines where it might be today had our small industrial experience continued. 

It's worth mentioning that Da Venezia comes from a family of small textile industrialists who love machinery and coach building. Therefore, it's not difficult to understand the love and admiration Da Venezia holds for Gio, who was a symbol of the transition from classic to modern. Ponti operated as a craftsman, designer, artist, and architect in a historical context that transformed Milan into one of the most modern cities on the Italian peninsula. It's in this environment that Gio (along with other collaborators) became the linchpin of the shift to modernism without losing touch with the classical, creating a common thread of identity in new productions, ranging from a fork to the Pirellone. The protagonists of Gio's generation were among the first to be referred to as "designers."