A visit to the Galleria Campari offers a unique and exclusive experience focused on the worlds of art, communications and photography that made the Campari brand distinctive and admired worldwide. It means entering a laboratory of images and emotions in which the brand history – made up of brilliant insights, sophisticated advertising campaigns, a cutting-edge communications strategy – continues to project the brand into the future.
Galleria Campari, opened to the public in 2010 to mark the company’s 150 years of business, is a dynamic, interactive and multimedia space, fully dedicated to the relationship between the Campari brand and its style of communication through art and design.
The Archivio Campari houses over 3,000 works on paper, especially original Belle Epoque placards, as well as posters and advertising graphics from the 1930s to the 1970s, by such major artists as Marcello Dudovich, Leonetto Cappiello, Fortunato Depero, Franz Marangolo, Guido Crepax, and Ugo Nespolo. Film shorts for the classic Italian television advertising show Carosello and spots by famous directors the likes of Federico Fellini and Singh Tarsem, as well as items by such successful designers as Matteo Thun, Dodo Arslan, Markus Benesch, and Matteo Ragni.
A visit to Galleria Campari is a sensory full immersion in the brand’s values: creativity, vitality, and drive into the future. The works are displayed both as originals and in a multimedia version, developed by young Interactive Designers (Cogitanz) using multimedia methods such as a 15-screen video wall dedicated to Carosello programs from the 1950s to the 1970s, 8 high definition projectors that show vintage animated billboards on a 32-meter wall, and videos dedicated to artists, images taken from the calendars and advertising spots from the 1980s to the present day. Finally, an interactive tablet with 12 touch screens allows the visitor to enjoy much of the company’s vast artistic heritage.
Anecdotes and curiosities
It was mainly the work by Fortunato Depero, in the twenties and thirties that augmented the company’s popularity, thanks to the easily recognisable and innovative style of his work, with flat, robust, colours on the posters and the formal lines of Second Futurism.