See the Most Memorable Moments from Nomad Capri

Once again, the grand halls of the Certosa di San Giacomo beamed with glimmering design and art objects set within various corridors, rooms and courtyards and cloisters, most coupled with enrapturing views onto the Tyrrhenian Sea. Among the highlights of this year’s edition was an increasing focus on the marriage of art and design objects found throughout Nomad’s selected presentation of international galleries as well as special projects, which included this year the third edition of the “Artists in Flux” powered by Gucci and featuring the work of three young creatives Egyptian Tarek Shamma, Cedri Mizero from Rwanda and American New York-based Misha Khan and the second Sustainable Design Summit organized in collaboration with AD Italia, among others. A packed VIP program for collectors who attended from around the world offered a vibrant array of events, including special dinners and lunches and tours of the newly renovated Hotel La Palma and Villa San Michele, a dream home built in the 1920s by Swedish doctor, Axel Munthe located in one of the most picturesque areas of the island where there was once an imperial Roman villa and Medieval chapel dedicated to Saint Michael.

Throughout the four days of the fair the spotlight was placed on the creativity brought to life at the Certosa di San Giacomo. After guests walked down the long entrance way and through several corridors, one of the first and most enchanting works on site are two sculptures made in Murano glass and bronze by multidisciplinary artist Irene Cattaneo in the Giardino del Priore: ‘Tree of the Underworld’ symbolized by incandescent red and Orange blown glass clouds to reference fire and passio, and ‘Tree of Innocence’ created in light blue ethereal colors to evoke water and springtime. Both works, which the visitor stumbles upon as they enter the garden, are positioned within the various plants and herbs, and allude to Persephone’s yearly journeys between Earth and the Underworld. Their playful, imaginative yet elegant appearance gave spectators a taste of what was to come.

Of note this year was an increasing marriage of both art and design objects and also jewerly—reflective of what seems to be a growing desire to place such creative disciples in conversation rather than separate them.

“There is an increasing amount of art and collectible design objects placed together at the fair,” said Pace. “We have been offering such juxtaposition since the beginning of NOMAD. Contemporary art galleries always trying to bring design projects and sometimes they even ask their artists to bring design projects.”

The dichotomy of both artistic disciplines could be experienced in the type of galleries that participates, spanning the realm of both contemporary art and collectible design and often presenting artfully curated booths mixing both. An example was the booth of first-time participant Lo Studio Everything I want, which opened in Venice in May 2023 by Nadja Romain, and at NOMAD presented the work of Irene Cattaneo and Egyptian London-based designer Tarek Shamma.

Another highlight a few steps away was the presentation of new participating Paris-based Chahan Gallery, founded by revered interior designer Chahan Minassian. For his presentation Minassian presented the project ‘Cruise’ presenting a harmonious room filled with a palette of cream, turquoise and bronze evocative of Capri’s idyllic maritime surroundings.  Works on show, which eloquently married forms with color, art and design, presented new works by Marie Khouri and Antoinette Faragallah, a unique Canal Grande table in Murano glass designed by Chahan Minassian evocative of Venetian style and Emilio Martinez’s painting Mother of Us from 2014-2015.

Shammas’s work is informed by his study of traditional Egyptian skills and techniques married with contemporary forms and the latest collection of furniture designed by Tarek Shamma, informed from his study of traditional Egyptian skills and techniques combined with contemporary practices from his base in London. An elegant screen titled Capriccio Egiziano featuring a hand painted artwork recounting historical Egyptian fiction by Egyptian writer Yasmin Rashidi with artwork painted by artist Lola Montes Schnabel, the daughter of Julian Schnabel. It was on view at Lo Studio Everything I Want. Shamma, also one of Gucci’s ‘Artists in Flux’, showed his ‘MinaMina’ tables for the collaboration with the fashion brand—once again unique objects merging materials and history from Egyptian with contemporary forms. They were made with faience-glazed ceramic, alabaster, and rattan tops, and travertine stone pillars were handcrafted by Shamma in Cairo and reflect his research into local Egyptian traditions, history, and culture.

Other highlights included a presentation by Milan-based Marco Arosio of significant 20th-century design pieces, including porcelain works by GioPonti for Ginori, vases by Venini, and lamps by Fontana Arte. There was also Nilufar Gallery who presented a variety of works by artists and designers, including Christian Pellizzari, Anestis Michalis, Objects of Common Interest and Analogia Project.

Inside the main courtyard Friedman Benda presented a larger-than-life vibrantly colored artwork by American designer Misha Khan. Titled ‘Juliet’, the large inflated installation reflects Kahn’s examination of virtual reality technology in his creative process. The balloon-like contemporary structure contrasts heavily with the Renaissance architecture of the monastery, the oldest on the island of Capri.

There was also a notable presentation of works from the Middle East and even Africa. These include first-time participant Le Lab Experimental Atelier from Cairo presenting Egyptian artists and designers: Omar Chakil, Mohamed Fares, and Khaled Hafez.

A surprising and powerful presentation was that of Rwandan artist Cedric Mizero. Also part of Gucci’s Artists in Flux, it was his outdoor and indoor installation titled ‘Ikkibibi’ that was most poignant, revealing various African-inspired objects and forms made from found materials and also evocating Christianity and remanants of colonialism with the incorporation of many white rosaries found in the figure of one reposed figurative sculpture. Mizero noted that the installation was mean to celebrate moments in life that we didn’t choose—both the good and the bad. And his did so through this week through thought-provoking candor both beautiful, haunting, bold and slight melancholic. It was a nod to Africa and the contemporary art scene there that hasn’t as strongly been felt in other editions of Nomad.

It also reflected this growing inter-marriage of art and design and also Nomad’s adventurous character coupled with the desire to always explore the creativity and culture of far-flung places and lands.

“We began NOMAD with a desire to explore new destinations through art and culture while breaking free from the white cube exhibition hall setting,” said Bellavance-Lecompte. “We are always looking for new conversations, between the art and design objects and the place in which they occupy.”