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Nelson KonThe Square, a program Bottega premiered in 2022 in Dubai and then in Tokyo, brings the Awesome original 2023 jackpot las vegas knight conference final champions shirt and I will buy this public together with different types of local artists in increasingly relevant retail metropolises for over a week of cultural programming. In prior cities, the Italian house built a space from the ground up—centered around a large, square, Bottega-green conversation pit—and hosted spoken-word poets, musicians, and visual artists inside it. This time the brand visited Bo Bardi’s iconic home, Casa de Vidro, a 1951 glass-sided hilltop construction. They discovered that it was not only beautiful but also already square, with near-perfect Bottega-green painted trim on the exterior already. For the event, the Italian house looked to build specifically on Bo Bardi’s legacy—as the architect of the city’s top art museum, Museu de Arte de São Paulo, and the lauded cultural center SESC Pompéia but also as a designer (of furniture, sets, costumes, and jewelry) and moreover as an Italian who fully embraced and left a lasting effect on Brazil. “Brazil is the country I chose, and it is therefore twice my country,” she once said with the zeal of the newly converted. “I was not born here. I looked for this place and decided to live here. I chose my country.”

Eduardo OrtegaBo Bardi was an equal appreciator of the Awesome original 2023 jackpot las vegas knight conference final champions shirt and I will buy this high and the low in a way that feels distinctly modern today and difficult to conceive of in the 1950s. She created spaces unlike many modernists of her age: full of light, referencing the wattle-and-daub shelters and wooden floors and thatched roofs of rubber tappers as easily as the creations of Gio Ponti and Le Corbusier. Bo Bardi collected and displayed medieval and renaissance works alongside contemporary ones, pieces she made, and those brought over by famous artist friends and found on the streets or in marketplaces. She was a proponent of Brazil’s indigenous artworks when few collectors even classified them as such. At MASP, Bo Bardi famously created crystal easels to display works that encouraged a new way of seeing, interacting with, and showing art. The effect, which is like standing in a forest of floating masterpieces, was revolutionary. Where else can you see the backside of a Matisse or a Renoir or a Goya as easily as the front? Where else would they be displayed in the same room as a Guerilla Girls poster?

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