The exhibition looks back over the years of reconstruction and economic and scientific growth in Italy, from the end of the Second World War to the days of the “economic miracle‘. An opportunity for Eni to celebrate the history that brought the company to the world’s attention.

Eni is celebrating the 150th anniversary of the Unification of Italy by participating in the “Copyright Italia: Patents, Trademarks and Products, 1948-1970‘ exhibition promoted by the Presidency of the Council of Ministers and organised by the National Central Archives in Rome, where the exhibition will be open March 25 to July 3 2011. Eni’s participation, in line with its strategy of combining business with prestigious cultural initiatives, is a product of the close collaboration between the company and the Archives’ General Management. For since it was inaugurated in 2006, Eni’s Historical Archives have been among Italy's biggest corporate archives, containing an imposing quantity of documentation: if laid end to end in a straight line, all the documents inventoried by the Eni Historical Archives would measure five kilometres long,  in an orderly series of documents including 400,000 illustrations and about 5000 audiovisuals.

In the Italians’ historical memory, the years 1948 to 1970 were a time of great change: gradual recovery after the end of the Second World War was accompanied by a process of growth which produced new social and economic models and helped to create a unified image of the country.
Eni tells the story of the years covered by the exhibition in archive images and videos from its own historic archives which help illustrate what Italy was like in those days.

The emphasis is on the “It wasn’t a miracle‘ section: the title itself emphasises that it was the hard work and good will of the people who worked for Eni that made it an international oil company, not by chance but through a specific development strategy.

Starting with the establishment of Agip and over-ambitious attempts to conquer energy reserves overseas during the fascist period, the records in the archives lead up to the years of Enrico Mattei, who made Agip a modern company based on management models and technologies imported from the United States and brought up a new generation of well-trained oil technicians. After Mattei’s tragic death, the exhibition illustrates the work of his successors, with whom the company, now internationally known, continued to expand in Italy and abroad.
The images and videos in the exhibition illustrate the work, challenges and daily life on major Eni oil rigs, from Perro Negro to Paguro and Saipem 2, which earned the six-legged dog first place as offshore oil operator in Europe. In less than fifteen years (between 1958 and 1972), Eni’s advanced engineering and technologies made it possible to go from rigs anchored to the sea bed to those towed into position by ships, capable of dynamically correcting their position, such as Saipem Due, the first drillship capable of operating in the tough waters of the North Sea in winter.

From the early rigs, the exhibition takes the visitors to the futuristic dream of how they might be reused, dedicating some space to “Temporary Island,‘ a creative exercise for which Eni commissioned Israeli architect Ronen Joseph. The initiative is part of Eni’s new communications strategy focusing on talented people and drawing on their creativity on various occasions requiring communications (www.enizyme.com). The project is an ideal oil rig hotel concept with a particular focus on ecology and architecture; a unique project perfectly reflecting the key concepts of greatest importance to Eni: sustainability, creativity and ability to imagine the future. Ronen Joseph has come up with a number of fascinating utopian solutions based on different innovative features of the recovery and sustainable reuse of oil installations such as rigs, providing fuel for the debate as to how they may be reused when no longer needed.
Another part of the exhibition focuses on the famous six-legged dog logo designed by sculptor Luigi Broggini and the advertisements Mattei decided, with his innovative pioneering vision, to entrust to young artists who interpreted Eni’s original values in their innovative contemporary style.

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