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Giorgio Pace Projects
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Giorgio Pace Projects (GPP) is a boutique, creative business development consultancy that specializes in connecting luxury brands and businesses – primarily in the art, fashion and not-for-profit sectors – for mutual benefit.

These connections can be discreet and small in scale, or they can play out on the international stage via a major marketing programme or stellar event. Whatever the brief, GPP’s subtle understanding of how best to reach and influence the right people, coupled with its forensic attention to detail, impressive international network and ability to deliver against objectives and within budget, makes it the perfect partner to help businesses grow.

EXPERTISE
Giorgio Pace Projects offers its clients a wide range of services, built upon many years’ experience.
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Rick Owens’ vision for furniture design is as singular and distinctive as that of his other practices, including fashion. Like the images, environments and clothes he produces the forms are sculptural, deceivingly simple and low key; the result of a natural genius for pattern making and innovation, as well as a committed reticence and self control…yet underlying it all is a paradoxical luxury. Plywood chairs that are lined in fisher fur, simple tables that are actually made of petrified wood, enormous beds made from alabaster that have impossible curves and are translucent in the sun. These are surprising, poetic works, somehow evocative of Corbusier and ancient Mayan cities, Blade Runner and Eileen Grey…a masterful alchemy that is so individual and unmistakably Rick Owens.
 
The impetus for Rick designing furniture was need, a need for utilitarian surfaces to live and work with in his Paris atelier. Thus there is a strong sense of unbiased function in these works. The shapes are pared down to something direct and though they can have multiple functions, they remain pure; even those works that are made of precious materials lack any sense of ostentation. Their elegance derives both from the line and materials but equally to the functionality and lack of ornamentation.
 
Magic Mountain, a lyrical title connoting colliding and opposing forces for inspiration, was a show highlighting Rick’s vision for design at the Chesa Planta Museum in St Moritz. Produced in collaboration Rodman&Rudy the exhibition showcased new work as well as some favorites from Rick’s growing oeuvre. Housed in a beautiful 18th century aristocratic home, the Chesa Planta is a museum of living culture that faithfully evokes the domestic culture of a patrician Engadin family of the 18th and 19th centuries. Rick’s work was placed throughout the historically accurate building, creating an interesting, and at points, intentionally jarring juxtaposition of old and new, severe and delicate.

Projects
The following represents a selection of key project activity undertaken by Giorgio Pace:
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Rick Owens’ vision for furniture design is as singular and distinctive as that of his other practices, including fashion. Like the images, environments and clothes he produces the forms are sculptural, deceivingly simple and low key; the result of a natural genius for pattern making and innovation, as well as a committed reticence and self control…yet underlying it all is a paradoxical luxury. Plywood chairs that are lined in fisher fur, simple tables that are actually made of petrified wood, enormous beds made from alabaster that have impossible curves and are translucent in the sun. These are surprising, poetic works, somehow evocative of Corbusier and ancient Mayan cities, Blade Runner and Eileen Grey…a masterful alchemy that is so individual and unmistakably Rick Owens.
 
The impetus for Rick designing furniture was need, a need for utilitarian surfaces to live and work with in his Paris atelier. Thus there is a strong sense of unbiased function in these works. The shapes are pared down to something direct and though they can have multiple functions, they remain pure; even those works that are made of precious materials lack any sense of ostentation. Their elegance derives both from the line and materials but equally to the functionality and lack of ornamentation.
 
Magic Mountain, a lyrical title connoting colliding and opposing forces for inspiration, was a show highlighting Rick’s vision for design at the Chesa Planta Museum in St Moritz. Produced in collaboration Rodman&Rudy the exhibition showcased new work as well as some favorites from Rick’s growing oeuvre. Housed in a beautiful 18th century aristocratic home, the Chesa Planta is a museum of living culture that faithfully evokes the domestic culture of a patrician Engadin family of the 18th and 19th centuries. Rick’s work was placed throughout the historically accurate building, creating an interesting, and at points, intentionally jarring juxtaposition of old and new, severe and delicate.

CURATION
Giorgio Pace Projects is an independent, itinerant organization that creates and disseminates contemporary art and design in Engadine, Switzerland. It started as a standalone business in 2010 and now shares its name with the wider GPP business development consultancy.

To date there have been two major exhibition projects that have been created and curated by GPP – Magic Mountain and A Lunatic on Bulbs.
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Rick Owens’ vision for furniture design is as singular and distinctive as that of his other practices, including fashion. Like the images, environments and clothes he produces the forms are sculptural, deceivingly simple and low key; the result of a natural genius for pattern making and innovation, as well as a committed reticence and self control…yet underlying it all is a paradoxical luxury. Plywood chairs that are lined in fisher fur, simple tables that are actually made of petrified wood, enormous beds made from alabaster that have impossible curves and are translucent in the sun. These are surprising, poetic works, somehow evocative of Corbusier and ancient Mayan cities, Blade Runner and Eileen Grey…a masterful alchemy that is so individual and unmistakably Rick Owens.
 
The impetus for Rick designing furniture was need, a need for utilitarian surfaces to live and work with in his Paris atelier. Thus there is a strong sense of unbiased function in these works. The shapes are pared down to something direct and though they can have multiple functions, they remain pure; even those works that are made of precious materials lack any sense of ostentation. Their elegance derives both from the line and materials but equally to the functionality and lack of ornamentation.
 
Magic Mountain, a lyrical title connoting colliding and opposing forces for inspiration, was a show highlighting Rick’s vision for design at the Chesa Planta Museum in St Moritz. Produced in collaboration Rodman&Rudy the exhibition showcased new work as well as some favorites from Rick’s growing oeuvre. Housed in a beautiful 18th century aristocratic home, the Chesa Planta is a museum of living culture that faithfully evokes the domestic culture of a patrician Engadin family of the 18th and 19th centuries. Rick’s work was placed throughout the historically accurate building, creating an interesting, and at points, intentionally jarring juxtaposition of old and new, severe and delicate.

ABOUT
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Giorgio Pace Projects was founded by Italian national Giorgio Pace in 2010 and is based in Paris, France and St. Moritz, Switzerland.

Giorgio started his career at the prestigious Metropolitan Museum of Art in New York, where he was employed to research and help curate exhibits from the drawing department. From there he moved back to Italy to become assistant curator for the 1993 Venice Biennale, helping to organize the many, and often large, exhibits in this world-renowned event. Activities included everything from attaching labels to exhibits, to liaising with artists, sponsors, and the media.

Giorgio returned to New York to undertake an MA in Visual Arts Administration at NYU and while there, he worked for the Solomon R. Guggheneim Museum, coordinating the exhibition “The Italian Metamorphosis: 1943 – 1968” with art critic Germano Celant. A large part of his job at this time was to contact, and persuade, mostly Italian private collectors, foundations and public institutions to lend their artworks to the exhibition. After completing his MA, Giorgio became corporate development assistant at the Dia Center for the Arts, where he was responsible for establishing a collaboration with the Fondazione Prada and Miuccia Prada, which resulted in a number of exhibitions. From there he went to the Bard Graduate Center for the Decorative Arts and worked closely with the curator in organizing the exhibition Ambiente Barocco. Giorgio was both instrumental in encouraging private collectors to lend their pieces, as well as raising considerable sums in sponsorship.

Giorgio used his connection with NYU for two further projects. The first was with the board of trustees of the Casa Italiana Zerilli-Marimo, who he helped develop a network of sponsors for various cultural projects within NYU and launched a fundraising campaign which achieved 70 per cent growth under his watch. Secondly he collaborated with Italian fashion designer Krizia to facilitate a retrospective of her work at the Grey Art Gallery at NYU. In addition to securing the venue, Giorgio coordinated and supervised the installation of the exhibition and created and managed the opening party, including food, décor, entertainment and the all-important guest list.

In 1999 Giorgio entered the world of publishing, first working on the launch of V magazine and then managing sponsorship of Visionaire, a quarterly art / fashion / design publication. In 2003 he became the director of advertising and communications for V Man, working closely with some of the world’s leading brands. During the next few years Giorgio consolidated his credentials in publishing and luxury brands and expanded his contacts, undertaking a wide range of projects.

An art and design lover from a young age, in 2010 he decided to put his interests and skills together and founded Giorgio Pace Projects – an independent, itinerant organization that creates and disseminates contemporary art, design and architecture projects in Engadine, Switzerland. From an initial idea, Giorgio works with artists and designers to create each project and then fundraises, organizes opening events and ensures they are attended by international collectors and VIPs, as well as by the art media.

In 2012 he was asked personally by high-profile former editor-in-chief of French Vogue, Carine Roitfeld to be her advertising director as she launched her new magazine – CR Fashion Book.

Giorgio Pace Projects was expanded to become a business development consultancy in 2013 to capitalize on Giorgio’s vast experience as a consultant on numerous projects, his incredible network and his impressive ability as a facilitator.

Giorgio lives in Paris and St Moritz and is fluent in Italian, French and English. He loves to travel and particularly enjoys finding amazing new venues and great restaurants. Art has always played a major part in his life and he describes his tastes as eclectic. He has an interest in everything from old masters to contemporary pieces but most recently has been collecting artists such as Roni Horn and Kiki Smith, in addition to up-and-coming artists and photographers.

PRESS
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Rick Owens’ vision for furniture design is as singular and distinctive as that of his other practices, including fashion. Like the images, environments and clothes he produces the forms are sculptural, deceivingly simple and low key; the result of a natural genius for pattern making and innovation, as well as a committed reticence and self control…yet underlying it all is a paradoxical luxury. Plywood chairs that are lined in fisher fur, simple tables that are actually made of petrified wood, enormous beds made from alabaster that have impossible curves and are translucent in the sun. These are surprising, poetic works, somehow evocative of Corbusier and ancient Mayan cities, Blade Runner and Eileen Grey…a masterful alchemy that is so individual and unmistakably Rick Owens.
 
The impetus for Rick designing furniture was need, a need for utilitarian surfaces to live and work with in his Paris atelier. Thus there is a strong sense of unbiased function in these works. The shapes are pared down to something direct and though they can have multiple functions, they remain pure; even those works that are made of precious materials lack any sense of ostentation. Their elegance derives both from the line and materials but equally to the functionality and lack of ornamentation.
 
Magic Mountain, a lyrical title connoting colliding and opposing forces for inspiration, was a show highlighting Rick’s vision for design at the Chesa Planta Museum in St Moritz. Produced in collaboration Rodman&Rudy the exhibition showcased new work as well as some favorites from Rick’s growing oeuvre. Housed in a beautiful 18th century aristocratic home, the Chesa Planta is a museum of living culture that faithfully evokes the domestic culture of a patrician Engadin family of the 18th and 19th centuries. Rick’s work was placed throughout the historically accurate building, creating an interesting, and at points, intentionally jarring juxtaposition of old and new, severe and delicate.