在2022年的迈阿密/巴塞尔设计展上，Dimoregallery通过现代和理性的环境呈现自己。

For Design Miami / Basel 2022, Dimoregallery presents itself through a modern and rational context.

正如Pier Paolo Pasolini所主张的那样，在没有常识和具体性的情况下，理性是不存在的，我们可以很容易地在有形的工业原料混凝土地板和温暖的、有质感的灰色涂料的展示空间的墙壁中找到。

A rationality that, as Pier Paolo Pasolini maintained, does not exist without common sense and concreteness that we can easily find in the tangible industrial raw concrete of the floor and in the warm, textured gray paint of the walls of the exhibition space.

In this environment the typical materials of the Italian economic recovery, such as laminate, steel and glass, interact. An ode to the Italian design of the Sixties and Seventies.

在这种环境下，意大利经济复苏的典型材料，如层压板、钢和玻璃，相互作用。

这是对六七十年代意大利设计的颂歌。

Nanda Vigo设计的Osiris灯， Vico Magistretti设计的“Eptaclinio”吊灯， Gio Ponti设计的原型灯，一直到Gabriella Crespi设计的方尖塔，让人联想到Archizoom Associati设计的透视式“Safari”沙发， Figini and Pollini在1934年设计的带酒吧角的餐具柜(在当时的美学标准中被称为“ Razionalista”)，以及Gio Ponti设计的四个“Apta”橱柜。一个Cartesian的“cogito ergo sum”，但在设计的背景下。

The "Osiris" lamp by Nanda Vigo, the "Eptaclinio" chandelier by Vico Magistretti, the prototype lamp by Gio Ponti, up to the obelisk by Gabriella Crespi, radiate awareness of the scenographic "Safari" sofa by Archizoom Associati, the sideboard with bar corner from 1934 by Figini and Pollini (aptly called “Razionalista” for the aesthetic canons of the time) and the four “Apta” cabinets by Gio Ponti.A Cartesian “cogito ergo sum”, but in a design context.

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