Time. A linear conception, a scanning of minutes, hours, decades.
In the heart of the Cicognara industrial district, an ambitious cultural project takes shape: inside the company Pennelli Cinghiale, CEO Eleonora Calavalle decides to expand the historic headquarters by creating a corporate museum.
Thus is born an immersive space, a kaleidoscope of memories and emotions that tells the story of the brand through objects, images, and shared memory.
To lead this creative endeavor, the company entrusts the project to artist Guido DutyGorn, assigning him the creation of artworks and installations, as well as the curation of the museum’s historical archive.
This is how the Museum of Time comes to life—a space where art, industrial memory, and historical identity merge, giving new voice to the places of labor.
Pennelli Cinghiale has chosen to bring people closer to art again, not by placing it in distant and austere museums, but within workshops, among machines, in the everyday gestures of work.
A return to the essential—where culture is not a luxury, but a tool for reading reality, building community, and sparking new energy.
The company’s space blends with the artworks and installations. DutyGorn chooses not to create a traditional exhibition, but an experiential journey, made of lines, brushes, and physical works that engage in dialogue with the industrial structure and with time itself.
The artworks are not just meant to be observed from afar — they are meant to be entered, experienced, lived. Like time, they don’t stop at a single point; they mark minutes, hours, decades. Each installation is designed as an emotional threshold, a passage that unites memory and future, gesture and matter, industry and poetry.
Disused brushes, production scraps, paper and visual archives are transformed into narrative elements. The past is not merely celebrated: it is reinvented, reinterpreted, relaunched.
The factory, the entrance, the meeting rooms, the walls — through this process — are no longer just functional workspaces, but living bodies in continuous evolution.
Le opere:
Imagine walking through the main entrance of the Museum of Time.
As you look up, you’re welcomed by “Upside Down”, a large suspended installation that transforms the ceiling into a vibrant horizontal surface made of hundreds of paintbrushes.
With a profound aesthetic and conceptual approach, the work explores the contrast between past and future, between use and reuse, giving new form and meaning to tools once considered spent.
The brushes that compose the installation are the very ones used in the making of the museum itself: no longer instruments of labor, but poetic matter, elements of a collective narrative.
As the artist DutyGorn, creator of the project, explains:
“It’s the result of meticulous aesthetic research on colors, dimensions, and materials.
The goal is to bring people inside the work, evoking emotions and memories linked to gesture and color.”
Upside Down is not just decoration — it’s an invitation to immerse oneself, to recognize, to reimagine time from a new perspective.
Upside Down – Installation – 2022
The journey through the Museum of Time continues.
We follow the lines traced through the space: they mark a physical path that leads us forward, yet takes us back in time.
The journey begins with the viewing of three works titled Retouché – Markers on glass, 60×80 cm – where black and white images recount the historical link between Pennelli Cinghiale and the world of sports.
These archival photographs are reinterpreted through a futuristic lens: the marker strokes cut across the surfaces like luminous scars through time, evoking a past that remains deeply alive.
The artworks lead us into the Room Machine, a space where every object from the past is deconstructed and reassigned, much like time itself.
We are greeted by a historic machine once used to produce paintbrushes, now transformed within the museum into a narrator of its own story and the company’s legacy.
Embedded within it is a film camera, projecting images and archival footage—visions that give voice once again to the company’s industrial memory.
From video to sound, the Room Machine offers an immersive experience, where the past physically meets the present and interacts with the viewer.
A vintage telephone completes the installation: lifting the receiver is like opening a sonic portal.
On the other end, a voice from the past guides you through an old radio advertisement—echoes of characters and stories that accompanied the company through the decades.
The scenographic lines of the space are designed to create a temporal distortion: each transition evokes a sense of déjà vu, a familiar return to what once was—a game of time that reshapes our relationship with space, memory, and perception.
It is in the Hall that the viewer realizes—like a déjà vu—that all the artworks, spaces, and environments originate from and converge toward a single piece over 5 meters long.
Like the entire museum, this piece is a deconstructed installation, from which all the guiding lines flow and to which they return.
It is here that the temporal distortion originates, one that alters even the faces depicted within the work.
The passage of time also affects the transformation of the person: one who evolves, changes, and is never quite the same.
The Museum of Time transforms both space and time, to the point that even the exterior of the building becomes a work of art in itself—like Time Mirror, an installation intrinsically connected to the artworks housed inside the museum.
Like the hands of a clock marking the passage of time, the lines that have guided the path inside extend beyond the walls, break through the ceiling, and reach outward to connect past, present, and future—even beyond the Museum, into everyday life.
The mural, titled “Time Mirror,” is located along the façade of the Pennelli Cinghiale production facility in Cicognara, and is visible from Via Milano 222.
The lines echo the visual path that DutyGorn created within the interior spaces of Pennelli Cinghiale, forming a continuous journey between inside and outside.
They are designed to create a temporal distortion, a déjà vu, in which the future returns with a sense of familiarity to the past—a game of time that disrupts the continuum of space-time.
The colored lines cut across the surface and intersect like beams of light, unfolding through space and extending beyond the edges, continuing ideally into infinity.
They create a controlled chaos, capable of generating a strong aesthetic impact, which becomes a calming response to the disorder of the world around us.
At the heart of the mural is a female face, the true protagonist, which captures the viewer’s attention and transports them into a vibrant dimension of light flashes and vital energy, in perfect harmony with the chromatic lines of the surface.