Common Worlds: Treasures from the 39 Nations
What makes a house, a Home? Since 2016, The World at Home project has crossed borders and broken down walls, welcoming fragments of life from 39 different nations. This exhibition is not just a collection of objects, but A map of shared humanity.
“Common Worlds” invites us to look beyond exoticism, to find in a rug, a mask or a simple wooden glass, the reflection of our own desires: belonging, beauty and the warmth of an encounter.
Welcome to this House as big as the world.
Khamak embroidery – Afghan craftswomen – 2020
Hazara motifs are among the oldest artistic elements of Afghan folklore. They are a distinctive artistic identity of the Hazara people. This art draws inspiration from nature as well as political and religious beliefs. Numerous rock carvings and the Kaveh banner testify to these ancient origins. Khamak embroidery is a vivid expression of Hazara motifs in clothing and furnishings. Today, this craft has entered international fashion. Designers have created modern patterns based on a delicate art that is entirely hand-stitched.
Dying of Laughter – Marin Nikolla & Denis Muça (Artist) and Vasil Kuka (Craftsman) – 2025
The terracotta vessels conceived by Marin Nikolla and made by artisan Vasil Kuka are configured as symbolic devices that relate contemporary design and traditional knowledge. The rotary gesture of ceramic working, the foundational element of the process, is reinterpreted as the original matrix of contemporary production technologies, up to 3D printing. The work, presented at Fuori Salone 2025 at Slow Mill, represented Albania in one of the most relevant contexts of international design, transforming craft practice into shared design and cultural language.
Gandoura Annabiy – Algerian craftsman from Annab – 20th-20th century
The annabiya gandoura is a traditional dress originating in Annaba, east of Algeria. It is distinguished by flowing fabrics and “majboud” embroidery, made with embossed gold threads. It reflects Berber, Arab and Ottoman influences. Worn at weddings and celebrations, it represents elegance, femininity and the value of traditional craftsmanship passed down through time.
Poncho – Argentine handicrafts – 20th century
The iconic Argentine gaucho poncho has pre-Hispanic roots. Made of wool with a central opening, it combines protection and identity in a timeless handcrafted design.
The essence of the roots – Giovanni Manzoni Piazzalunga – 2025
The painting captures a sacred moment: a Guarani mother holds her child close, merging in an embrace that smells of earth and history. The decisive features of the woman’s face tell of the resilience of a people, while the baby’s amber skin glows in the warm light of South America. The brightly colored robes and traditional decorations are not mere ornaments, but symbols of a proud identity. It is a universal yet deeply indigenous motherhood, where every brushstroke vibrates with an ancestral love that connects the past to the present, celebrating the purest origin.
Juruna Necklace – Indigenous Crafts – 21st Century
The Juruna (Yudjá), inhabitants of Mato Grosso and Pará along the Xingu River, live in symbiosis with the rainforest. Tupí-speaking fishermen and farmers, they link their spirituality to the river systems. For them, the necklace is not just an ornament, but a narrative of the warrior’s life: each element symbolizes titles, skills, and learned knowledge. Through rituals of hunting, fishing and healing, the youth complete an education that ensures maturity and social recognition, making each necklace a true identity chronicle of their growth in the community.
Güveç – Bulgarian handicrafts – 20th century
The Giuvedj (or Gyuvech) is the iconic earthenware casserole of Bulgarian cuisine. Heir to the wisdom of the Thracians, it exploits the properties of clay for slow, even cooking. Thanks to its porosity, the dish “breathes,” retaining moisture and intensifying flavors without burning the food. In the past it was used directly over coals; today it remains the secret for juicy meats and tender vegetables. It is not just a utensil, but a true convivial ritual: the symbol of an age-old tradition that still brings the family together around rich, fragrant dishes.
auspicious knot – Traditional Chinese product – 21st century
An age-old symbol of harmony, the Chinese square knot represents endless union and longevity. In this decorative work, the weave structure enshrines the figure of the carp, a creature that, according to legend, ascends the currents to transform into a dragon. Through a refined play of homophony (in Chinese “fish” and “abundance” share the same yú sound), the object becomes a powerful talisman of prosperity. An artifact that transforms the red string into a visual language of hope and good wishes for the new year.
Coffee preparation – Colombian handicrafts – 20th century
This scene evokes the heart of Colombian homes, where coffee is not just a drink, but a domestic ritual. The method depicted uses a cloth strainer suspended on a wooden stand: hot water slowly runs through the ground powder, filtering the essence directly into the cup. This artisanal technique, handed down from grandmothers, filled kitchens with an unmistakable fragrance, celebrating a rituality of waiting and care. A daily gesture that still represents the unbreakable bond between land, family and tradition.
Sombrero – Colombian handicrafts – 20th century
The Sombrero Vueltiao is one of the greatest symbols of Colombia and its cultural heritage. This masterpiece of craftsmanship is woven entirely by hand by the indigenous Zenú people using “caña flecha,” a natural fiber worked with ancestral techniques. The hat is made unique by the typical black and white geometric patterns, representing elements of nature and indigenous cosmogony. Flexible, lightweight, and extraordinarily refined, the Sombrero Vueltiao is not just an accessory, but an emblem of technical wisdom and cultural endurance.
Poncho – Colombian handicraft – 20th century
The Colombian poncho is a mainstay of traditional clothing, created to cope with the harsh climate of the Andean region. Handmade from thick and durable wool fibers, this garment is not only a protection against wind and frost, but an authentic banner of rural identity. Each region declines colors and decorative patterns in unique ways, transforming the poncho into a visual language that expresses belonging and popular pride. An artifact that enshrines centuries of craftsmanship, combining functionality and deep cultural value.
La marcha de la bandera – Kasay Herrera Calle – 2021
In La marcha de la bandera, Kasay Herrera Calle depicts a group of children crossing the city with Cuban flags. The scene interweaves childhood, civic tradition and community dimension, transforming an everyday gesture into a symbol of generational continuity and cultural belonging. Urban architecture dialogues with the movement of the procession, guarding memory and collective presence. Made with the taco perdido linocut technique, each print is unique and unrepeatable, animated by intense colors and incisive marks.
Poncho – Ecuadorian handicraft – 20th century
This embroidered poncho is not just a garment, but a narrative of Kitu Karanqui cosmology. At the center of the decoration pulses the life cycle that harmonizes society, spirit and politics, reflecting the power of the “Direct Sun.” In fact, the term KI TU (Quito) indicates the exact point where at noon the shadow disappears, revealing a purest zenithal light. To wear this garment is to honor the legacy of the “children of the straight sun,” custodians of an astronomical knowledge that transforms natural phenomenon into a sacred aesthetic, capable of uniting man with the balance of the universe.
Quiet – Rosa Arias – 2026
It represents stages of daily life, carried in muted colors, to take advantage of moments of serenity, rest, quiet.
Tecomate – Salvadoran handicrafts – 21st century
Tecomate is a traditional Salvadoran vessel made from the dried fruit of the Crescentia cujete tree or some gourds. The name comes from the Nahuatl “tecomatl” (stone vessel), emphasizing the hardness of its shell. Since pre-Hispanic times, peasants have used it as a natural water bottle to carry water or coffee to the fields: its organic structure keeps liquids cool under the tropical sun. In addition to its practical use, it is a handcrafted object often decorated with engravings, an iconic symbol of rural identity and El Salvador’s unbreakable bond with nature.
Sungka (Philippine precolonial tradition) – Philippine handicrafts – 21st century
Sungka is a traditional Filipino game of the mancala family. The wooden board has rows of cavities and two end deposits: players distribute seeds or shells in sequence, collecting and sowing seeds to accumulate pieces in their “home.” Widespread in domestic life, it fosters sociability and cultural transmission. Each piece reflects craftsmanship and local identity.
“Costume” doll (衣装人形, ishō ningyō) type “bride” (花嫁, hanayome) – Yoshitoku Taikō – Shōwa Period (1926-1989)
The doll sports traditional wedding attire consisting of a floral-patterned overcoat (打ち掛け, uchikake) worn over the snow-white damask kakeshita (掛下). Hair is styled in the “bunkin takashimada” style (文金高島田) and secured with ornamental clips (簪, kanzashi) of amber color. The headdress, called tsunokakushi (角隠し)-literally “hide-horns”-is intended, according to tradition, to conceal these symbols of intemperance and jealousy from the groom’s eyes.
Greek dish – Greek handicrafts – 21st century
This decorative plate distills the sunny essence of Mykonos through its most iconic symbols. The composition opens on windmills dominating the horizon and white architecture overlooking the Aegean, while in the foreground stands out the pelican Petros, the island’s historic mascot and emblem of hospitality. Framing the scene is the meander motif, the classical “Greek” that recalls infinity and the ancient roots of this land. A small fragment of craftsmanship that evokes the light, the sea and the timeless charm of the Cyclades in an embrace of colors and traditions.
Pashmina – Unknown artist – 21st century
At the heart of Indian tradition, pashmina represents much more than a fabric: it is the story of a thousand-year-old wisdom rooted in the valleys of the Himalayas. This artifact is the result of a perfect balance between the resources of the land and the craftsmanship of man. For centuries, its workmanship has embodied the identity of entire communities, where each hand-woven thread holds technical secrets and cultural symbolism. A symbol of prestige and protection, pashmina remains a living testimony to how craftsmanship can transform into spiritual legacy.
Dīvān-e Hāfez – Shams al-Dīn Muhammad Hāfeẓ-e Shīrāzī – 14th century (between 1325 and 1390 CE).
Hafez’s Divan represents the heart of Persian poetry, combining mysticism, love and spiritual reflection. Its poems express the conflict between earthly and divine love in language that is symbolic and open to many interpretations. In Iranian culture it is more than a book: it is a spiritual guide used for meditation and poetic divination. It is present in the homes of almost all Iranians and remains a living symbol of identity, beauty and wisdom in the Persian tradition.
Shahnameh (The Book of the King) – Ferdowsi – c. 1010 AD.
The Shahnameh was completed around 1010 CE (although Ferdowsi began work on it about 977). Ferdowsi’s Shahnameh represents the cultural soul of Persia, interweaving myth, history and values such as honor, justice and destiny. Through kings and heroes, the work preserves the memory and identity of a people, becoming a pillar of Iran’s tradition. It is not just an epic poem, but an enduring symbol of cultural unity and national pride, still alive in the collective consciousness. This text briefly summarizes the greatness of the work and its cultural legacy. It is relevant today!
Tajine – Berber handicrafts – 9th century B.C.
Originating among Berber nomads as a portable oven, this ceramic pot is the soul of North African cooking. The conical lid allows slow cooking at low temperatures, developing complex flavors and keeping foods tender with very little water.
“LELE” doll (became popular since the 1970’s) – Women of the Otomí ethnic group from Amealco, Querétaro, Mexico – 21st century
Crafts originating in Amealco, Querétaro, Mexico. Created by women from the Otomí ethnic group. Clay was used in pre-Hispanic times. After colonization, textiles were used, becoming a tradition. Since 1973 it has been known with the appearance of today. “Lele” means “baby” in the Otomí language. On April 18, 2018, it was proclaimed Cultural Heritage of Querétaro and counts with the OGP (Protected Geographical Origin) label. More than a toy, Lele is a symbol of Mexico’s cultural pride internationally and support of artisan families.
Tree of life – Moldavian handicrafts – 21st century
The art of wall carpet weaving in Moldova and Romania has been a UNESCO heritage site since 2016. This centuries-old tradition is a strong element of identity: wool carpets, with geometric or naturalistic motifs, are created using ancient techniques handed down from generation to generation. Using vertical looms, local wools, and natural dyes, they produce decorative artifacts that tell stories and accompany rituals such as weddings. The craft endures in rural areas; the Clisova Noua center organizes workshops to learn the technique, and that is where our telaieto comes from.
Elephant mask, Izzi-Igbo ethnic group, Nigeria – Artist unknown – Mid-20th century
This crest mask was worn horizontally over the head by interposing a ring stuffed with straw. It is called “Ogbodo Enyi,” which can be translated as “the spirit of the elephant,” and has attributes that can be traced back to several animals: the tusks and trunk of an elephant and the open mouth of a hippo while on the back it bears a carved head of a man. This specimen is characterized by considerable size having an extension of about 67 cm.
Kamiz shalwar – Pakistani handicrafts – 2025
This dress is an elegant feminine outfit featuring powder pink hues with warm and romantic undertones. The inner dress is fitted and richly decorated with floral embroidery, beading and small shiny details that create a refined and luminous effect. The bodice features a round neckline embellished with jewel applications. Above it is matched with a light overcoat made of sheer, loose and flowing fabric with long sleeves and trimmed edges. The ensemble gives a delicate, sophisticated look perfect for elegant occasions.
Pueblos Olvidados – Flavius Suyo Medina (Roca) – 9th century BC.
“Pueblos Olvidados” by Flavio Suyo Medina (Roca) is a visual tribute to the memory of Andean communities. The work captures a rural village immersed in silence, where earthy-toned houses and sloping roofs stand out against a timeless landscape. Human figures, wrapped in their traditional ponchos, become custodians of an ancestral culture. Through bold brushstrokes and skillful use of light, the artist transforms everyday simplicity into a poetic image, suspended between the melancholy of abandonment and the pride of an identity that resists the passage of centuries.
Untitled – Danuta Nawrocka – 2016
Danuta Nawrocka’s works lead the viewer into an ineffable world of wafer-thin lines like cobwebs that transcend the boundaries of the canvas. The phantasmagorical forms, animated by rhythmic vibrations, create an atmosphere of mystery that attracts to the labyrinths of the subconscious. Color interventions, used as calibrated accents, reveal from within a pulsating microcosm of life and structure. A painting that, like music, eludes precise definition and opens to reflection on the mystery of existence.
English tea set – English craftsman – Late 19th century
Teapot with handcrafted tea pot cover. The teapot cover was used to prevent the tea from becoming cold during brewing. One teaspoon of tea is placed for each person, plus “one for the teapot,” then boiling water is added. It is allowed to stand for 5 or 6 minutes. A little milk is poured into the cups before the tea; usually a few sugar cubes were also added.
Guardian Angel – Teodora Rosca – 1995
Icon on glass from Transylvania, Romania, depicting the Guardian Angel, made by Teodora Roșca in 1995. Typical of the Transylvanian tradition, the icon on glass represents a form of naïve painting rooted in popular culture. Widespread especially in rural communities, this technique combines expressive simplicity and spiritual intensity. The bright colors and essential strokes convey a strong sense of protection and devotion.
Women’s Literacy – Gianfranco Mura – 2003
Gianfranco Mura, photographer and portrait artist, carries out cultural projects in Italy and abroad. During his trip to Senegal, he documented moments and contexts of projects implemented by the Sunugal association, including the women’s literacy course in the village of Beude Dieng, Senegal, the association’s first project.
Sigiriya – Dylan Shaw – 2021
Historically, Sigiriya, known in Sri Lanka as the “Lion’s Rock,” is an imposing volcanic rock fortress dating back to the 5th century, famous for its gardens, frescoes and Lion’s Gate. Considered the eighth wonder of the world, this UNESCO World Heritage site since 1982 was a royal palace built by King Kasyapa and offers breathtaking views after a climb of more than 1,200 steps. The spiritual message of Buddhism associated with this rock is as follows: “Just as Sigiriya rises to the heavens, so too is man called to ascend beyond his own limits, in search of beauty, peace and truth that endures through time.” “A rock, a civilization, a timeless legacy.”
Tunisian traditional dress from the island of Djerba (Gerba) – Tunisian craftsman from Djerba – 21st century
The ceremonial dress of Djerba women is a triumph of color and symbolism. Composed of cloth with gold or silver threads, it is fastened following strict rules. Shimmering shirts with wide sleeves in bright hues such as red or yellow are worn under the drapes. The family’s wealth is exhibited through pendant necklaces, gold medallions descending from the lace veil and numerous bracelets. To wear these cloths, lent generously by local women, is to immerse oneself in age-old rituals and to feel part of Tunisia’s warmth and cultural pride.
Motanka – Tetyana Androsenko – 2024
The motanka is born of hands and intentions: it is not sewn, but wound, thread by thread. In Ukrainian tradition it is a domestic amulet, a symbol of protection and harmony. Faceless, so as not to imprison a soul, it retains an open space of energy and meaning. It was made from familiar fabrics, accompanying daily life and its passages. In each knot a thought remains, in each layer a memory. It is a simple object, but deeply rooted in Ukrainian cultural identity.
Hand-decorated wooden eggs – Unknown artist – 21st century
In several Eastern European nations, the handcrafted decoration of eggs is an ancient art passed down for generations. Featuring folk, floral or geometric lace-like patterns, these eggs are considered talismans against disease and evil spirits. A symbol of life, fertility and rebirth, the egg becomes an auspicious object that expresses prayers and wishes. Hungarian “himestojas,” hand-painted in bright colors such as red (a symbol of resurrection), are used as Easter decorations or place cards, hung on doors or decorative branches as a sign of protection.
Lozi Walking Stick – Unknown – 2019
This walking stick is a handcrafted item from Zambia’s Western Province, traditionally made by the Lozi people, one of the most culturally rich ethnic groups in sub-Saharan Africa. Carved entirely by hand from red wood-a material prized for its warm hue, durability, and fine grain-the piece exemplifies the extraordinary tradition of woodworking that has characterized Lozi craftsmanship for generations. The handle of the stick is carved in the form of a hippopotamus, rendered in stylized form but with some fairly realistic features. The animal’s body curves elegantly to form the grip, while the head features-the broad muzzle, small rounded ears, and sunken eyes highlighted with dark pigment-are reproduced with some attention to detail. The hippo occupies a place of great symbolic importance in Lozi culture: it is associated with power, authority and the life-giving waters of the Zambezi River floodplain. Below the handle, at the point where the shaft bifurcates to support the hippopotamus figure, a second animal emerges from the wood: the head of an antelope, most likely an impala. Painted on the wood with dark pigment, this figure is shown on both sides of the staff and although it is more stylized than the hippopotamus above, it does not lack realism and iconicity. Just below the antelope figure the shaft coils into a harmonious spiral ending in five overlapping rings. Below them the staff remains smooth to the lower end. The overall finish, a deep red-brown with glossy treatment, gives the object visual warmth and a sense of authenticity. This is not simply a functional object, but a true work of art and a significant cultural artifact.
Lozi Food Bowl – Unknown – 2019
This food bowl is a handcrafted item from Zambia’s Western Province, carved by hand from a single block of wood. The shape of the object reproduces that of a fish, most likely a tilapia-a fish species widely found in the waters of the Zambezi River and deeply rooted in the food and symbolic culture of the peoples of the region. The fish is depicted in side view, with its broad, slightly convex body tapering toward the tail. The surface is entirely worked with a dense pattern of checkerboard carvings that reproduce the fish’s coat of scales in a stylized but effective manner. Superimposed on this background are concentric curved lines that recall the animal’s anatomical contours, creating a visually dynamic effect. A touch of red pigment highlights the gill area, adding a chromatic element that enlivens the surface otherwise dominated by dark brown and ochre tones. The eye is rendered with an engraved circle, simple and essential. The object’s function is revealed by opening the oval lid in the center of it: the body of the fish is emptied in the central part, carving out a cavity – the actual bowl – intended to hold food. The lid, also made of wood carved with the same flake pattern, has a small fry-shaped socket. The polished finish gives the whole a warm, compact look. The object is also thought of as an aesthetic embellishment of some home environment, since it is the lower part of the fish belly forms a small pedestal, which allows the bowl to stand perfectly upright on some shelf or flat surface. This is an object that combines everyday functionality and quality craftsmanship, an authentic expression of Lozi’s manufacturing tradition.
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