the catalog - Mouvements modernes

112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Its historic position in the early eighties’s among the first designart galleries, its sincere commitment to design, its exceptional relationship with creators, and the quality of past and future projects
enable Mouvements Modernes to take its place today as one of the major international galleries of
DesignArt, concentrating on unique one-off work, or limited editions and rare and exclusive pieces
of furniture, lighting, objects or special projects signed by major contemporary creators.
MOUVEMENTS MODERNES FROM THE START:
ANTICIPATION AND EXPERTISE IN THE FIELD OF DESIGNART
Founded in 2002 by Pierre Staudenmeyer, formerly director of the gallery Neotu that he had co-initiated in 1984 and the gallery
Re in 1997, the gallery Mouvements Modernes is specialized in decorative arts and design from 1945 to today, with a partiality
for contemporary creation of a prospective nature. From these subsequent experiences and areas of research came forth a
number of designers recognized today internationally, and a number of key works in the history of design in France and abroad.
Veritable discoverer of talent, theoretician of design and promoter of exceptional projects, P. Staudenmeyer had emerge a number
of creators and established himself as editor of major works that have marked design research in recent years—the first limited
edition of “Rocks” by Arik Levy (2006), the “Cabinet aux anneaux” or even “Mirror” by Elisabeth Garouste (2007), the “Banc
vertèbre” or the “Silver Chair” by Christian Biecher (2005 and 2006), the “Neverended Light 1” by Nanda Vigo (2005), the “Meuble
d’appui” by François Corbeau (2005), the “Hybrid Hall Table” by Torsten Neeland (2004), or as well the “Suite de Venise” by
Olivier Gagnère (2002).
Mouvements Modernes having been one of the major sectors of contemporary ceramics of the past seven years, the gallery
focuses mainly in this field not only by continuing to support the work of those creators historically tied to the gallery, but also by
associating with the Manufacture de Sèvres in order to co-produce limited edition works of the highest quality. Lastly, some new
creators have joined the gallery in this very specific field.
At FIAC Paris Art Fair
23-26 october 2008
Stand B50
Grand Palais
Avenue Winston Churchill, 75008 Paris France
MOUVEMENTS MODERNES TODAY: NEW ENVIRONNEMENT, NEW HORIZONS
Using its expertise in the field of design and its anticipation of market trends along with its actors, Mouvements Modernes is
developing an innovative and ambitious strategy in the way of creation, in relationship with artists, with a policy of timely events,
and with production models.
In this respect, within the continuity of the spirit of the founder of Mouvements Modernes, the new team, made up of Sophie
Mainier (management), Chloé Braunstein (creative direction) and Emmanuel Kriegel (strategy and development), propose as
of 2009 new productions, signed by major names in contemporary design and ‘emerging’ talents, destined to become the icons
of the 21st century. It is a fact that collectors are turning more and more towards the contemporary world in their selection, and
take into consideration intellectual and artistic coherence.
In order to fulfil these new expectations, Mouvements Modernes bases its artistic direction on several major themes that guide
its choice of creators and works: aspect of style, technological impact, search for new functionalities, beauty, aspect of quality...
Mouvements Modernes is continuing, while at the same time developing, its policy of services to collectors, the constitution
of collections and advice in the setting up of private or public spaces.
MOUVEMENTS MODERNES HOLDS A SALON
Fiac Paris: some exceptional works
Mouvements Modernes wants to go beyond traditional gallery codes, offering an original and proactive relationship vis-à-vis
collectors and professionals in order to anticipate the profound evolution of the market and its diverse publics—from Salon to”Guerilla
Gallery”.
Mouvements Modernes has been selected to participate in the leading salon that is Fiac Paris (23-26 October 2008) and will
present a selection exceptional works that reflect the finer and finer borderline between art, design, architecture and luxury goods.
Mouvements Modernes gallery has opened its doors in a new space in September 2008, just off Paris’s “Golden Triangle”
and the Champs-Elysées, 112-114 rue la Boétie, in Paris’s 8th arrondissement. Space designed as a salon, a setting of strong contemporary and imaginative added value.
In the same spirit of a haute couture fair, this new space is marked by its location as the first gallery of design in the ChampsElysées neighbourhood, and by the deliberate refusal of the traditional gallery space in favour of a space that’s opening its doors
to activities that go beyond those of a gallery. More an “event” space, more flexible and following the times more closely.
Mouvements Modernes endeavours as a meeting place for get-togethers, projects and research, where an exhibition is only
be one aspect of its programme. Creators are invited to use the gallery in order to confirm their talent, keep up with their research,
experiment an innovative way, to meet an audience until then unknown to them. From the other side, collectors are invited to
use the gallery as a platform for the expression of their interests and devotion to artists and their projects of DesignArt, and thus
in taking the lead, enabling them to become involved from the very conception of the piece.
AN ACTIVITY GOING BEYOND THE WALLS, PHYSICAL AND VIRTUAL
Mouvements Modernes also plans to develop a lively activity beyond its walls in a deliberate endeavour to precede the collectors, and on this front in the major international fairs and salons in which it intends to become quite involved as well.
- Physical activity “beyond its walls”, by investing in the future in places as diverse as a suite in a luxury hotel, an architecture
or design agency, or even in the apartment of a collector. Such a proactive initiative, borrowed from Rei Kawakubo’s (Comme
des Garçons) Guerilla Stores, will veritably accompany the projects it supports along with their content.
The Guerilla Gallery will give shape to its first actions as of 2009.
- Virtual activity, by developing a platform for exchange and expertise on design, by its ubiquitous participation in events, its
‘community’ involvement concerning projects produced by the gallery.
This selection will attempt to exemplify the evolution of Mouvements Modernes gallery by mixing some works and projects
emanating directly from choices made by its founder Pierre Staudenmeyer with those elaborated by the new team, heralding future
collaboration with confirmed or emerging designers.
Thus upon this occasion Mouvements Modernes gallery will present for the first time in France:
• “My World” (2005), a one-off installation by the Anglo-Indian duo Doshi-Levien
• The working model for the installation “Gazebo” (2008) at the heart of the exhibition “Open Enclosure” by Andrea Branzi
at the Fondation Cartier
• The model for the hotel “Medea” (2006) by Micchele de Lucchi
• A selection major works by the French-German creator Rolf Sachs
To be presented in addition:
• one-off and limited edition works by the French-Argentine creator Pablo Reinoso
• some works, objects, installations or even projects by Elizabeth Garouste, Garouste and Bonetti
• some works by ceramists Nadia Pasquer and Merete Rasmussen, demonstrating the continuity that Mouvements Modernes
wants to establish with the basic work carried out on the ceramics theme by Pierre Staudenmeyer.
Mouvements Modernes, chosen by FIAC organizers among ten design galleries present at this salon, has invitee for the occasion
the Manufacture de Sèvres to exhibit a work from its collection.
The selection is focused on the vase “Interactive Tryptique” (2005) by Arman, last copy of an edition of ten and the fruit the
sole collaboration undertaken between this major institution and the artist.
This invitation heralds the co-production partnership that Mouvements Modernes will have the honour of starting with the
Manufacture de Sèvres as of 2009 with the co-edition of limited edition projects by Christian Biecher and Andrea Branzi.
For the scenography of its booth at DesignArt London Mouvements Modernes called upon designers Jean-Sébastien Lagrange
and Agathe Chiron who have literally taken an imprint of the Paris gallery by exporting it to the salons in which the gallery is
participating. This scenography, just like a puzzle, decomposes the gallery space in order to reincarnate it in spaces that have been
"gallerized" this way. The background of the decors is put in the forefront, the modules are of natural wood and conserve all the
characteristic signs of this apartment-gallery, herringbone parquet, mouldings and cornices.
The artists and designers
with Mouvements Modernes
Mouvements Modernes, in its selections, implements some new channels of aesthetical, technical, technological and conceptual ways
of thinking through limited editions, through the building up of the collections, through search for new talent, and through the presentation of major works from the history of design.
The accent is also put on the search for emerging talent and on collaboration with designers that come from the broadest cultural
and geographic horizons, representative of international trends and evolution, and on the search for new collectors.
Mouvements Modernes represents, as of today, the work of the following designers:
Christian Biecher, Andrea Branzi, François Corbeau, Nedda El-Asmar, Ariel Kupfer, Doshi Levien (Nipa Doshi & Jonathan Levien),
Elizabeth Garouste, Torsten Neeland, Pablo Reinoso, Rolf Sachs.
Ceramic artists: Luisa Maisel, Nadia Pasquer, Merete Rasmussen
Mouvements Modernes will also present works by the following creators:
Atelier A - François Arnal, Gae Aulenti, François Bauchet, Osvaldo Borsani, Andrea Branzi, Marcel Breuer, Achille Castiglioni &
Pier Giacomo Castiglioni, Pascal Colrat, Pierre Chapo, François Corbeau, Michele de Lucchi, Jacopo Foggini, Dan Friedman,
Olivier Gagnère, Garouste & Bonetti, Rei Kawakubo, Enzo Mari, Alessandro Mendini, Jasper Morrison, Bruno Munari, Paolo
Pallucco, Gio Ponti, Jean Prouvé, Gino Sarfatti, Ettore Sottsass, Philippe Starck, Superstudio, Gen Suzuki, Martin Szekely, Roger Tallon,
Nanda Vigo…
Ceramic artists: Pierre Bayle, Jacques Blin, André Borderie, Roger Capron, Robert Deblander, Jean Derval, Denyse Gatard,
Mado Jolain, Elisabeth Joulia, Georges Jouve, Kristin McKirdy, Gilbert Portanier, Jacques & Dani Ruelland, Valentine Schlegel,
Gilbert Valentin.…
The Mouvements Modernes team
Sophie Mainier-Jullerot
Emmanuel Kriegel,
has been managing Director of the gallery Mouvements Modernes for more than a year, a continuation of her role alongside Pierre Staudenmeyer as collaborator. With profound respect for the work of
the late founder of Mouvements Modernes, she is pursuing the great outlines that enriched their collaborations and feels dedicated to explore and develop the possibilities of contemporary design.
who joined the gallery as associate and partner in July 2008, is in charge of strategy and international
development for Mouvements Modernes.
Following university studies in art history, she joined the Ecole du Louvre. She then assumed a first
position in the team within the New Media section of the Centre Georges Pompidou where she
managed and participated with the enrichment of the collection. With the aim of perfecting her
economic approach to the art milieu, she obtained a Master in cultural management, and then undertook a collaboration for two years with the Chez Valentin Paris gallery, specialized in contemporary art.
Since 2007, and alongside her role at the core of Mouvements Modernes, Sophie Mainier-Jullerot
is in charge of the coordination of the project in homage to Pierre Staudenmeyer, including the publication of a book on
his work as gallery owner and editor, and an exhibition retracing the remarkable world of this theoretician of design.
Chloé Braunstein
leads the Artistic direction of the gallery Mouvements Modernes and co-chairs the new creative orientations of this space. She has led at the same time various activities and jobs for more than twenty years,
always focused on design and contemporary creativity in general. Her meeting Pierre Staudenmeyer
in 1997, founder of the galleries Neotu, Re and Mouvements Modernes, was decisive and led to a collaboration for more than ten years, divided between joint writing and shared reflection about projects for
private clients.
Chloé Braunstein started her career in 1985 with a period at VIA then at the Institut Français de
Design Industriel, in order to then enter as project director within the leadership of the global design
agency Plan Créatif-Crabtree Hall. In 1987, her contribution to a special issue of Art Press was the beginning of a long series of texts for catalogues and magazines specialised in design (Intramuros, Beaux Arts,
Material, Graphis, Etapes, Minotaure...).
Chloé Braunstein founded the news bimonthly Design Chronique in 1988 for the APCI (Agence pour la Promotion de
la Création Industrielle) and the DAP (Délégation aux Arts Plastiques, Ministère de la Culture), of which she was editor-inchief for three years. In 1993 she joined the Opéra National de Paris to direct publications, by-products and external
communications, with as main task the implantation of a new public image for the ONP. In 1997, she renewed ties with
design research and founded with the designer Olivier Peyricot Mobile, a multidisciplinary specialized magazine on lifestyle
in which participated numerous artists, designers and writers. She also wrote several monographs on designers (Roger Tallon
published by Dis-Voir in 1999, Ruedi Baur published by Lars Müller in 2002, Atelier A published by Norma in 2003).
In 2000 Chloé Braunstein founded Braunstein Associates, her own office for strategic consulting devoted to creativity and
design management with as main clients Renault-Nissan, Ikea, Louis Vuitton including ING Architecture, and worked alongside designers and architects on their business strategy. She is currently editing a book as an homage entitled Les Années
Staudenmeyer to be published in 2009 by Éditions Norma, and is participating as consultant on the eponymous exhibition
that will be held the same year at the Passage de Retz. Since January 2008, Chloé Braunstein has been lecturing on design
at Essec within the LVMH luxury chair.
For over more than twenty years, Emmanuel Kriegel has advised directors of major firms and public
institutions in the domains of economic intelligence, societal innovation, and international
development.
He has a degree from the Institut d’Etudes Politiques de Paris and a degree in international law with
first-hand experience in the Middle East since the 1980s, as director general for an office of strategic
monitoring. He has spent five years in the early 1990s in central Europe as advisor to Robert Hersant,
chairman of the publishing and communication group Socpresse, in charge of international development for a group of press and media in Poland, Hungary and the Czech Republic.
In the late 1990s, Emmanuel Kriegel carried out a number of missions on the American and Asian continents on behalf
of the directors of a media group.
Since 2002 he has been Associate Director, then President of Braunstein Associates, executive advisory office for leaders
of major international firms on emerging markets (China, India, Brazil, Middle East) and in key territories for innovation
and new means of consumption (Japan, Korea, Scandinavia, Silicon Valley USA).
In addition to accompanying leaders of major groups—in particular, French—in the luxury goods field, Emmanuel Kriegel
advises emerging groups of luxury goods—Chinese, Indian, Arab—with their development strategy and networking. In this
regard, the office is in particular implicated in the analysis of new lifestyles and consumption for emerging fortunes. In the
same way, Emmanuel Kriegel carries out a vigilant awareness of new areas of creativity and puts leaders and creators in touch
with one another.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
GUEST ARTIST (MANUFACTURE NATIONALE DE SÈVRES)
ARMAN
INTERACTIVE VASE,
2005
Limited edition of 10, numbered and signed : 5 pieces sold by the Manufacture and 5 pieces for Arman’s Estate • Vase with 3 jointed sections, ‘Bleu de
Sèvres’ and gold • H37,5cm, diameter 35cm when closed • The last piece will be available for sale in February 2009
« Interactive Tryptique Vase » is representative of Arman’s work in 1995, when he begins work on new bronze sculptures
which are sliced and reattached with hinges, titled ‘Hinges’. It is as well representative of the Manufacture nationale
de Sèvres productions, combining excellence of know-how and artistic audacity. Re-visiting the shape of a vase designed
by Emile Decoeur in the XXth century, this piece is remarkable by the use of exceptional techniques especially developped for its production by the Manufacture. It is composed of three parts, in porcelain decorated in « Bleu de Sèvres »
and 24 carats pure gold. These parts are assembled with metal hinges. The original plaster cast was exhibited for the
first time in 1998 during the major retrospective of Arman’s work at the Galerie nationale du Jeu de Paume in Paris.
The actual piece in porcelain could only be produced in 2005, due to various problems occuring to match form and
material, and the technical research undertaken to solve them. This is one of the very last pieces authentified by Arman
before his death in 2005.
French, 1928-2005
Studies : Ecole nationale d’Arts décoratifs de Nice. He leaves the school in protest against its conservatism. Then Ecole du Louvre where
he studies archeology and Oriental art, to 1951.
Arman was a painter, sculptor and visual artist. A co-founder of the Nouveaux Réalistes movement in the early Sixties, he
signs its Manifesto together with founder Pierre Restany, Martial Raysse and Yves Klein. He is brought to public attention
through his ‘Accumulations’, particularly paint tubes embedded in polyester. He is also famous for the ’colères’.
In 1973, after many years in the USA, he becomes a US citizen (www.arman-studio.com)
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photographie © Thibault Breton
ANDREA BRANZI
MAQUETTE OF THE GAZEBO PROJECT
FOR THE FONDATION CARTIER
2004
Open Enclosures exhibition, 2008 • One-off piece • wood, metal and glass • 100-70-50 cm • Courtesy Mouvements Modernes
Italian, born 1938
Studies: Architecture and design in Florence, to 1966
A professor of industrial design at the Politecnico di Milano, Branzi is also active as an architect, urban planner, and editor,
including of Modo journal, 1983–87, and the author of numerous books and essays. He was one of the founders of the Domus
Academy in Milan in 1983. He’s been active in Florence during the student and cultural unrest of the late 1960s, when he was a
member of the Radical Design group Archizoom Associati. He has since become a prolific designer of a wide range of functional
objects for numerous firms such as Alessi, Artemide, Cassina, Poltronova, Vitra and Zanotta.
His work has been included in important exhibitions at the Triennale di Milano and the Biennale di Venezia, and has been the
subject of one-person venues in galleries and Museums worldwide. In 1987, the Compasso d’Oro Awards committee cited him
with a Special Mention for his work as a designer and theoretician.
In 2008,he has exhibited at the Fondation Cartier,Paris, and during the Designer’s Days at the Manufacture de Sèvres Gallery,
‘Jardins de Sèvres’.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
MICHELE DE LUCCHI
MODEL OF HOTEL MEDEA
[email protected]
www.mouvementsmodernes.com
2006
One-off piece • Wood, H76 x W66 x P26 cm
«Le Torri di Adjara“ (“The Towers of Adjara”), in Batumi, a region in Georgia characterised by high buildings in the
Soviet style, today replaced by new constructions. The Medea Hotel, a building whose design combines history and modernity, will be the first project to be created by the Italian architect.
Italian, born 1951
Above all, Michele de Lucchi is an enquiring, original mind with the courage of its audacity, visible throughout his career.After
having approached film and art during his training as an architect, he sets up Cavart, a group that has played a significant role
in radical architecture, films, litterature and happenings.Among the happenings, he organises a seminar in a marble quarry near
Padova entitled « Culturally impossible architecture ». In 1978, he moves to Milan, works for Studio Alchymia, becomes friends
with Ettore Sottsass, and helps him put up the first Memphis exhibition in 1981.
In 1979 he is appointed consultant for Olivetti together with Sottsass, and designs office furniture. In 1984, he founds his own
studio,De Lucchi Group,then at the beginning of the 1990s,Produzione Privata : « what had started as a small-scale,craft-oriented
production of experimental projects very soon proved to be an opportunity to make objects using technologies on the margins
of industrial production, but treated within the logic of series ». Michele de Lucchi has taught at the Domus Academy in Milan,
at the Faculty of Architecture in Palermo, at the Cranbrook Academy of Art, Michigan. In 2001, he is Chairman of Art and Design
of the Faculty of Architecture in Venice. He has been awarded the Compasso d’Oro several times, and has received an Honorary
Doctorate of the University of Kingston, UK. He lives and works in Milan and Rome.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photography © Thibault Breton
ROBERT DEBLANDER
VASE
1955
One-off piece • Stoneware • H 35cm, Diameter 15cm
French, born 1924
Studies : Ecole nationale supérieure des Arts décoratifs, Paris
In 1946, Robert Deblander went on a tour of France that was to last three years. He visited the traditional potteries around
France.Back to Paris in 1949,he set up his own workshop,producing classical glazed earthenware products,using a white stanniferous glaze with abstract decorations. In 1961, he moved to Saint-Amand-en-Puisaye where he switched to making pottery in
stoneware fired in a clear flame.The pieces were assembled from several thrown or modelled components. He then developped
work in a more sculptural vein in stoneware, before turning in 1975 to porcelain with highly graphic decoration, which earned him
an international reputation.
Deblander was one of the first to reconsider pottery in terms of a support for paintig in the 1950s. Picasso had already set
the pace in Vallauris and Portanier had moved in that direction too. As to Deblander, he reacted like an abstract painter closely
related to the Ecole de Paris.Yet he did not confine himself to his skills as a painter. He altered wheel-thrown forms by unbalancing
them, flattening and pinching them, and by cutting them up. His abstract style often attains a perfect compositional balance in
a slight surrealist vein. He is one of the leading lights in the stoneware revival that was to make such an impact in the France of
the 1960s. Robert Deblander has always been a classical master of ceramic, following the three basic rules : beauty arises from
the perfection of the matter, from the refinement of the form, and from the soundness of the décor.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
MATLO
[email protected]
www.mouvementsmodernes.com
Matlo Terracotta water vessel with diatomite filters, brass tap
and enameled tripod stand. The terracotta cools the water
without need for electricity through natural evaporative process.
The vessel is made in two parts. The water is poured into the
top chamber and filters through into the bottom chamber
Matlo metal undeframe:
Dimensions when collapsed: 7 deep x 45 wide x 30 cm wide
Dimensions when legs attached: 48 high x 48 cm diameter floor
area
Materials: Steel tube and rod,spray painted.Polished brass feet.
Matlo (Terracotta part only): Dimensions: 49 high 48,5 cm
diameter
Materials: Terracotta with painted steel frame and brass tap/
feet.
MARBLE TABLE
DOSHI LEVIEN
Photographie © Lion Chow
DOSHI LEVIEN
MY WORLD
2005
Installation composed of several prototypes : Marble Table, Matlot, Fan, Mattress with Chaupar (a dice game), Dress • One-off piece •
Mixed media • 200-200-70 cm • Courtesy Mouvements Modernes
NIPADOSHI Indian, born 1971. Studies: Furniture, National Institute of Design in Ahmedabad, India, to 1994, and MA course in furniture design at the Royal College
of Art in London.
JONATHAN LEVIEN British, born 1972. Studies: From 1988, cabinet making college, Scotland; BA course design course at Bucks College in High Wycombe; and
MA course in furniture at the Royal College of Art in London, to 1997.
Nipa Doshi,a furniture designer,met Jonathan Levien,an industrial designer,while studying at the art school in London and have since designed products for firms worldwide.Jasper Morrison,
whom she met while visiting London, had encouraged Doshi’s enrollment at the Royal College of Art. After graduating from the college, she returned to India to work with craftspeople there,
based on her deep appreciation for Indian handicrafts.
Subsequently, she came back to London and worked for SCP furniture firm and David Chipperfield.
After graduating from the Royal College of Art in 1997, Jonathan Levien left for New York where he designed cutlery for Dansk, then returned to London to work in Lovegrove’s studio. In
2000, both of them quit their jobs, married and established their studio, Doshi Levien, a London based design office.They bring together two distinct and complementary approaches to their
work. While Nipa’s work is strongly influenced by Indian visual and material culture, Jonathan’s approach is rooted in design for industrial production. Together, their work celebrates cultural
diversity and explores the synthesis between technology, story telling, industrial design and craftsmanship. Doshi Levien was established in 2000 and their work includes British Arts Council
‘My World’exhibition,installation design for the Wellcome Trust,interaction design for Intel,insight and design direction for Nokia,product design for Tefal,furniture design for Moroso and bespoke
shoes for London based “aristo”bootmakers,John Lobb (receiving the B&B Italian award for it),and were commissioned by Moroso in 2007 to create a furniture collection to be equally produced
in India and in Italy.Their Tefal Mosaic range of cooking containers won the 2003 FX Design Award for “the best furnishings or accessory for residential interiors.” The duo was elected Blueprint
magazine’s Designer of the Year 2005 and was chosen as the Best Breakthrough Designer of 2007 by Wallpaper* magazine.
Doshi Levien’s installation for My World is partly inspired by
the shops and workshops of ancient but still functioning
markets in India. Customers remove their shoes, sit on a
mattress and spend time talking to the craftsman about what
they need. The objects resulting from this transaction are
made with great care and are extremely personal both to the
maker and the consumer.The atmosphere of the shops yields
a strong impression of having entered a world; the craftsman’s
world; infused with unique smell, touch and creative possibility. Doshi Levien have created a liminal space between two
worlds,Indian and European,imaginary and real. Doshi Levien’s
shop asks us to consider — to buy,as it were — their values and
aspirations.The objects allude to Indian archetypes but are also
prototypes with potential for mass production. To encourage
social interaction,the mattress has been hand-embroidered with
the board markings for Chaupar, an ancient Indian dice game.
The prototypes are also expressive of the collaboration between
Levien and Doshi.
The complex form of the marble table has been created from
a combination of Doshi’s pencil drawing and Levien’s computer
modelling and then machined into shape.The crude electric
ceiling fans all over India have broad blades that make a lullaby
as they turn.More efficient contemporary fans have none of this
poetry. Doshi Levien’s prototype fan attempts to reconcile the
atmospheric with the practical properties. Most Indian households use a rounded terracotta drinking water vessel — a matlo
— that cools water to 14° below ambient temperature without
refrigeration. Doshi Levien’s matlo is a slip-cast version which
has evolved to incorporate filtration and could be batchproduced from a mould.
They propose it as an environmentally sound alternative
to bottled water and electric coolers. All these prototype
products have a deep dependence on traditional crafts as well
as industrial processes. Craft relies strongly on intimate knowledge of materials, and this knowledge is easily lost in manufactured products where production is separated from design.Doshi
Levien intend with all their work to reintroduce this link and to
increase the role of serendipity and experimentation in mass
production. They also hope to ‘promote respect for craft in
parts of the world where the hand is the machine’. Their longterm aim is to reverse the trend that sees India and other
developing countries with strong craft and production traditions
as places to make things cheaply; instead, to find a contemporary and sustainable expression for indigenous skills. Installation
commissioned by the British Council for Experimenta 2005 in
Lisbon, been realised with the generous support of the Arts
Council of England and B&B Italia
This table combines the archetypal form of a work desk with
sensual materials and proportions normally associated with
pleasure, expressing the idea of work as a source of pleasure.
The marble table has been machined using computer data.We
were attracted by the idea of taking a natural material, usually
carved by hand and applying an automated process associated
with high tech industrial production.
Marble table: Dimensions: 120 wide x 90 deep x 4 cm thick (35
cm high with legs) Material: Carrera marble
FAN
We were Inspired by the old Indian/ colonial fans whose broad
generous blades create a soothing lullaby sound.Most contemporary fans, although very efficient, lack this atmospheric
quality. We wanted to enhance the emotional resonance of
this every day object in a contemporary design.
Dimensions: When fan blades are bolted to centre piece 160 cm
diameter.Materials: polyurethane mouldings vacuum metalised
mirror finish.
MATTRESS WITH CHAUPAR (A DICE GAME).
This object comprises a mattress made from cotton and silk
which has a board game embroidered into it. The game itself
is like chess (and in India has led to wars when kingdoms and
wives have been waged as prizes!), encouraging an interaction
to take place between two people.
Dimensions: 180 long x 100 wide x 7 cm deep
Materials: Embroidered and patchwork cover with foam
mattress.
CUSHION
Dimensions: 66 wide X 40 long X 8 cm deep.
Materials: Embroidered and patch worked cover with foam
mattress.
FLOOR BOARDS
Number: 13
Dimensions: 200,2 long x 17 wide x 2,2 cm thick
Materials: reclaimed pine timber with shellac polished finish
COURTESAN DRESS
The dress is made using 6 metres of fine Mul Mul cotton, hand
woven in West Bengal. It is Inspired by the Indian courtesan’s
dress with asymmetrical neck line that is discreet yet revelatory.
The mul mul cotton is vernacular to a hot climate and is used
to ventilate the body naturally.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photography © Thibault Breton
ELISABETH GAROUSTE
MIRROR
2007
Mouvements Modernes edition • Edition of 8 • Gold-clad flat iron, glass • 151-91-18,5 cm
French, 1949Studies: École Camondo in Paris, and theater and costume design.
Elisabeth Garouste began collaborating with her husband, painter Gérard Garouste, and designed stage sets and costumes.
She has also served as a stylist for Marie Berani and worked with Andrée Putman. From early 1980s, Elisabeth Garouste began
working with Mattia Bonetti, first with the commission, also with Gérard Garouste, for the decoration of Le Privilège restaurant
in Le Palace nightclub in Paris.The Garouste-Bonetti relationship was officially launched with the first series of their objets primitifs and objets barbares, first shown at interior-design firm Jansen, in 1981.The soubriquet “New Barbarians”was coined for their
work that was edited by Pierre Staudenmeyer’s Neotu gallery in Paris.
Garouste and Bonetti eschewed functionalism and standardization in favor of primitivism and the former elegance of past
periods.The work, spanning two decades, spoke a language that was extravagant, surreal, baroque, and theatrical that included
the Barbare chair.Another example is the extravagant Extroverted kitchen that is an enormous bean-shaped volume with a goldclad oven and sink, now in the permanent collection of the Solomon R. Guggenheim Museum in New York. Several monographs
have been published on their work. After their separation in 2002, Garouste and Bonetti have carried on with their respective
careers.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
ELISABETH GAROUSTE
(French, 1949) Studies: École Camondo in Paris, and theater and
costume design.
MATTIA BONETTI
(Suisse 1952) Studies: Centro Scolastico per l’Industria Artistica in
Lugano, Italy.
GAROUSTE & BONETTI
SÉLINONTE CABINET
Neotu Edition • Terracota, oxidized metal, wrought iron • 156-81-40 cm
1991
Elisabeth Garouste began collaborating with her husband,
painter Gérard Garouste,and designed stage sets and costumes.
She has also served as a stylist for Marie Berani and worked with
Andrée Putman. Mattia Bonetti worked as a color consultant
to Rhône-Poulenc in Paris, was a stylist with Marie Berani, and
collaborated with designer Andrée Putman. From about 1977,
Bonetti and Garouste began collaboration,first with the commission,also with Gérard Garouste,for the decoration of Le Privilège
restaurant in Le Palace nightclub in Paris.The Garouste-Boneti
relationship was officially launched with the first series of their
‘objets primitifs and objets barbares’, first shown at interiordesign firm Jansen, in 1981.
The soubriquet “New Barbarians” was coined for their
work that was edited by Pierre Staudenmeyer’s Neotu gallery
in Paris. Garouste and Bonetti eschewed functionalism and
standardization in favor of primitivism and the former elegance
of past periods. The work, spanning two decades, spoke a
language that was extravagant,surreal,baroque,and theatrical
that included the ‘Barbare chair’. Another example is the extravagant Extroverted kitchen that is an enormous bean-shaped
volume with a gold-clad oven and sink, now in the permanent
collection of the Solomon R. Guggenheim Museum in New
York. Several monographs have been published on their work.
After the separation in 2002, Garouste’s and Bonetti’s have
followed their respective careers.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
ELISABETH GAROUSTE
(French, 1949) Studies: École Camondo in Paris, and theater and
costume design.
MATTIA BONETTI
(Suisse 1952) Studies: Centro Scolastico per l’Industria Artistica in
Lugano, Italy.
Barbarian chair
GAROUSTE & BONETTI
CHAISE BARBARE
Neotu Edition • Wrought iron, foal hide • 118-59-48 cm
1981
Elisabeth Garouste began collaborating with her husband,
painter Gérard Garouste,and designed stage sets and costumes.
She has also served as a stylist for Marie Berani and worked with
Andrée Putman. Mattia Bonetti worked as a color consultant
to Rhône-Poulenc in Paris, was a stylist with Marie Berani, and
collaborated with designer Andrée Putman. From about 1977,
Bonetti and Garouste began collaboration,first with the commission,also with Gérard Garouste,for the decoration of Le Privilège
restaurant in Le Palace nightclub in Paris.The Garouste-Boneti
relationship was officially launched with the first series of their
‘objets primitifs and objets barbares’, first shown at interiordesign firm Jansen, in 1981.
The soubriquet “New Barbarians” was coined for their
work that was edited by Pierre Staudenmeyer’s Neotu gallery
in Paris. Garouste and Bonetti eschewed functionalism and
standardization in favor of primitivism and the former elegance
of past periods. The work, spanning two decades, spoke a
language that was extravagant,surreal,baroque,and theatrical
that included the ‘Barbare chair’. Another example is the extravagant Extroverted kitchen that is an enormous bean-shaped
volume with a gold-clad oven and sink, now in the permanent
collection of the Solomon R. Guggenheim Museum in New
York. Several monographs have been published on their work.
After the separation in 2002, Garouste’s and Bonetti’s have
followed their respective careers.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photography © Florian Kleinefenn
ARIK LEVY
ROCK FUSION SOFT TRIO DARK BROWN
2008
Prototype • Meteor plastic covered with Kvadrat Devina fabric and MDF covered with Alcantara • 232-72-37 cm • Courtesy Arik Levy / L design
Israeli, born 1963
Studies : Art Center College Europe, Switzerland, 1991
At the age of 27 Arik Levy leaves behind his graphic design studio and surfboard shop for Europe. In 1991 he graduates with
distinction in Industrial Design from Art Center College Europe in Switzerland. After winning the Seiko Epson Inc. competition,
he starts his career as a professional designer and participates in several design exhibitions in Japan. Upon returning to Europe,
he introduces his ideas, innovative concepts and installations to contemporary dance and opera set designs around the world.
From his Paris based company Ldesign, together with his partner Pippo Lionni and their team of designers, he develops projects
in industrial, interior and graphic design for the European and international market. Thanks to his technical skills and creativity,
Arik’s work deals with a variety of subjects and disciplines from product development, lighting design and corporate identity to
packaging, point of purchase design, signage, exhibitions, interior and set design. Arik Levy participates in many exhibitions and
shows in Museums, alternative spaces, galleries and fairs worldwide, and several of his products can be found in the permanent
collections of the most prestigious Museums and institutions. He works both as a scientist and a poet. Innovation, simplicity and
experimentation allow him to translate concepts into products, space and experience. He has received many Awards, such as
the Grand Prix International de la Critique, 1999, Wallpaper Design Awards Best modular furniture, 2007, Red Dot Award :
product design, 2008, Elle Decoration International Design Awards,Designer of the year 2008, Design Plus Award.Among his
recent work,is the impressive collection ‘Intangible’for Baccarat that visitors to Paris Fair Maison & Objet have discovered in 2007,
to quote only a few… He lives and works in Paris.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
MADOURA SUZANNE RAMIÉ
[email protected]
www.mouvementsmodernes.com
GRANDE POTICHE
c.1960
One-off piece • Glazed earthenware, brown orange • H 66,5, Diameter 25 cm • Courtesy Mouvements Modernes
French, 1905-1974
Suzanne Ramié began to work as a textile designer for Gillet,a company from Lyons.In 1938,with her husband Georges Ramié,
she started a ceramic workshop in Vallauris, Madoura (MAison DOUly RAmié).The local production was then traditional and utilitarian. Soon after having produced some utility pieces, she started designing free shapes, in stark contrast with the surrounding
production.
This type of figurative pieces was then being modernised by many ceramists,among them Georges Jouve.Picasso was probably
the first to feel the wind of novelty that blowed in this workshop, and his choice of Madoura to produce his ceramic work (3 500
one-off pieces and 600 editions) was not done by accident. When he arrived in Vallauris in 1948, it was the beginning of a longterm collaboration with Madoura, making it famous while shadowing its current production. To avoid competing with the
maestro, Suzanne Ramié from then on, used only monochrome glazing, white, bright yellow, dark blue, orange.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photography © Merete Rasmussen
MERETE RASMUSSEN
DARK CURVED WALL OBJECT
2008
One-off piece • Ceramic • 50-14-40 cm • Courtesy Mouvements Modernes
Danish
Studies: Designskolen Kolding
Rasmussen moved to London in 2005. Being Danish, Scandinavian design has strongly influenced her work, revealed by the
minimal decoration, simplicity of forms, and clean lines. Her ceramics are frequently assembled from three sections.According
to Rasmussen, three is a strong number, and three is a balanced repetition of form. Her material of choice is stoneware.
Through her studies at one of the leading Danish design institutions,in Kolding,she learned to master different ceramics techniques
and develop a strong sense of form.She has produced a number of large voluptuous,organic sculptural forms and,early on,functional
vessels
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photography © Merete Rasmussen
MERETE RASMUSSEN
DARK PURPLE TWISTED FORM
2008
One-off piece • Ceramic • 30-35-20 cm • Courtesy Mouvements Modernes
Danish
Studies: Designskolen Kolding
Rasmussen moved to London in 2005. Being Danish, Scandinavian design has strongly influenced her work, revealed by the
minimal decoration, simplicity of forms, and clean lines. Her ceramics are frequently assembled from three sections.According
to Rasmussen, three is a strong number, and three is a balanced repetition of form. Her material of choice is stoneware.
Through her studies at one of the leading Danish design institutions,in Kolding,she learned to master different ceramics techniques
and develop a strong sense of form.She has produced a number of large voluptuous,organic sculptural forms and,early on,functional
vessels
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
PABLO REINOSO
French-Argentinian artist and designer
Born in Buenos Aires, Argentina in 1955
Photography © Carlos Yebra
PABLO REINOSO
THONET 09
Thoneteando series • One-off piece • 89 cm • Courtesy Mouvements Modernes
2005
Pablo Reinoso has practiced sculpture since he was a
teenager. For a long time he worked mainly with wood, slate,
marble, brass, and steel. He focused his search on articulation
and metonymy as well as on space and time.In 1995 he decided
to extend his practice to other materials.
This radical change allowed his sculptures to rid themselves
of the obligations of a matter. To "materialize" this change, he
chose air. Made out of cloth, his installations are divided into
three metaphorical breathing typologies, namely, Breathing,
Persistent, and Contracting. As an example, Breathing installations are equipped with fans that are turned on at regular intervals, creating an impression of visual and auditory breathing
(Breathing monochromes series begun in 1995).At the same
time, they show the interdependent relationship between
breathing and life.
It is also in the 1990s when Pablo Reinoso consolidates his
position as a designer. He designs furniture (Pocketable, 1998)
and a great number of objects, especially since 1997, when he
starts a new path between commercial strategy and art within
the LVMH group. He becomes artistic director of Parfums
Givenchy in 2000, and Parfums Loewe in 2002, where he
designs perfume bottles and cosmetic lines.At the same time,
he creates a bench for the Japanese city of Fukuroi (2000), in
the outskirts of the soccer stadium that became a venue for the
World Cup in 2002.
He creates a new League Cup for the Professional Football
League (2003), and works on the League's institutional image.
In time, the artist creates installations that present themselves
as more absolute devices (Dr. Lacan's office, 1998).Above all,
these installations question our view of ourselves through the
introduction of new materials such as mirrors (The other is me,
1998 ; The observed, 2002). Liquid crystal glass offers the
potential for both transparency and opacity. The alternation
between these two states creates an effect of visual breathing
that reveals at each moment the structure or volume of the work
(The living room II, 2001).The elements made out of cloth are
moving forms that contrast with the solid structure (between
organic and inert) of wood or metal, as in Las Meninas :
Horizontal exercise - a sculptural device - or the works of the
travelling exhibit El final del eclipse [The end of the eclipse],shown
in Spain and Latin America since 2001. Used to changing
paths, the artist shows us that function and form are not
evident. In time, an objectivation of his art work emerges. He
combines his work as sculptor and designer, reinterpreting
furniture and placing it in new paradigms (The last chair,2001).
Since 2002, his installations reveal more than ever the
sensivity of his work (Ashes to ashes, 2002 ; A la mesa, 2003
My 97 sq ft Saint Sulpice square,2003),insidiously pushing the
imaginary towards the border with chaos. Guided by his reflection on psychoanalysis, which was already implicit in his work,
Pablo Reinoso develops an analysis of his views of the discipline
in his Hygienic psy series (published in Le Monde 2, March 13,
2004).
For Designer's Days (Paris,June 2004), whose theme was
the five senses, Reinoso conceived an installation linked to the
unconscious.
The project articulated around the psychoanalytic device
(the armchair and the couch) to evoke a basic psychoanalytic
concept - the unconscious.
Each device,set up with Poltrona Frau show room,included
systems that allowed the expression of the five senses through
the broadcasting of sounds and images and fragrance diffusers.
Two scents created for the occasion represented "perfumeevocations" that were a product of the artist's unconscious.Pablo
Reinoso also made a video with the participation of Blanca Li.
In this work,psychoanalytic sessions follow one another,but
the voice has been purposefully replaced by a bodily language.
He lives and works in Paris since 1979
Source : www.pabloreinoso.com
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
PABLO REINOSO
French-Argentinian artist and designer
Born in Buenos Aires, Argentina in 1955
Photography © Carlos Yebra
PABLO REINOSO
THONET 13
Thoneteando series • One-off piece • 146-diameter 45 cm • Courtesy Mouvements Modernes
2005
Pablo Reinoso has practiced sculpture since he was a
teenager. For a long time he worked mainly with wood, slate,
marble, brass, and steel. He focused his search on articulation
and metonymy as well as on space and time.In 1995 he decided
to extend his practice to other materials.
This radical change allowed his sculptures to rid themselves
of the obligations of a matter. To "materialize" this change, he
chose air. Made out of cloth, his installations are divided into
three metaphorical breathing typologies, namely, Breathing,
Persistent, and Contracting. As an example, Breathing installations are equipped with fans that are turned on at regular intervals, creating an impression of visual and auditory breathing
(Breathing monochromes series begun in 1995).At the same
time, they show the interdependent relationship between
breathing and life.
It is also in the 1990s when Pablo Reinoso consolidates his
position as a designer. He designs furniture (Pocketable, 1998)
and a great number of objects, especially since 1997, when he
starts a new path between commercial strategy and art within
the LVMH group. He becomes artistic director of Parfums
Givenchy in 2000, and Parfums Loewe in 2002, where he
designs perfume bottles and cosmetic lines.At the same time,
he creates a bench for the Japanese city of Fukuroi (2000), in
the outskirts of the soccer stadium that became a venue for the
World Cup in 2002.
He creates a new League Cup for the Professional Football
League (2003), and works on the League's institutional image.
In time, the artist creates installations that present themselves
as more absolute devices (Dr. Lacan's office, 1998).Above all,
these installations question our view of ourselves through the
introduction of new materials such as mirrors (The other is me,
1998 ; The observed, 2002). Liquid crystal glass offers the
potential for both transparency and opacity. The alternation
between these two states creates an effect of visual breathing
that reveals at each moment the structure or volume of the work
(The living room II, 2001).The elements made out of cloth are
moving forms that contrast with the solid structure (between
organic and inert) of wood or metal, as in Las Meninas :
Horizontal exercise - a sculptural device - or the works of the
travelling exhibit El final del eclipse [The end of the eclipse],shown
in Spain and Latin America since 2001. Used to changing
paths, the artist shows us that function and form are not
evident. In time, an objectivation of his art work emerges. He
combines his work as sculptor and designer, reinterpreting
furniture and placing it in new paradigms (The last chair,2001).
Since 2002, his installations reveal more than ever the
sensivity of his work (Ashes to ashes, 2002 ; A la mesa, 2003
My 97 sq ft Saint Sulpice square,2003),insidiously pushing the
imaginary towards the border with chaos. Guided by his reflection on psychoanalysis, which was already implicit in his work,
Pablo Reinoso develops an analysis of his views of the discipline
in his Hygienic psy series (published in Le Monde 2, March 13,
2004).
For Designer's Days (Paris,June 2004), whose theme was
the five senses, Reinoso conceived an installation linked to the
unconscious.
The project articulated around the psychoanalytic device
(the armchair and the couch) to evoke a basic psychoanalytic
concept - the unconscious.
Each device,set up with Poltrona Frau show room,included
systems that allowed the expression of the five senses through
the broadcasting of sounds and images and fragrance diffusers.
Two scents created for the occasion represented "perfumeevocations" that were a product of the artist's unconscious.Pablo
Reinoso also made a video with the participation of Blanca Li.
In this work,psychoanalytic sessions follow one another,but
the voice has been purposefully replaced by a bodily language.
He lives and works in Paris since 1979
Source : www.pabloreinoso.com
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
PABLO REINOSO
French-Argentinian artist and designer
Born in Buenos Aires, Argentina in 1955
Photographie © Pablo Reinoso
PABLO REINOSO
BENCH
Edition of 8 • Aluminium and steel • 145-75-80 cm • Courtesy Carpenters Workshop Gallery
2008
Pablo Reinoso has practiced sculpture since he was a
teenager. For a long time he worked mainly with wood, slate,
marble, brass, and steel. He focused his search on articulation
and metonymy as well as on space and time.In 1995 he decided
to extend his practice to other materials.
This radical change allowed his sculptures to rid themselves
of the obligations of a matter. To "materialize" this change, he
chose air. Made out of cloth, his installations are divided into
three metaphorical breathing typologies, namely, Breathing,
Persistent, and Contracting. As an example, Breathing installations are equipped with fans that are turned on at regular intervals, creating an impression of visual and auditory breathing
(Breathing monochromes series begun in 1995).At the same
time, they show the interdependent relationship between
breathing and life.
It is also in the 1990s when Pablo Reinoso consolidates his
position as a designer. He designs furniture (Pocketable, 1998)
and a great number of objects, especially since 1997, when he
starts a new path between commercial strategy and art within
the LVMH group. He becomes artistic director of Parfums
Givenchy in 2000, and Parfums Loewe in 2002, where he
designs perfume bottles and cosmetic lines.At the same time,
he creates a bench for the Japanese city of Fukuroi (2000), in
the outskirts of the soccer stadium that became a venue for the
World Cup in 2002.
He creates a new League Cup for the Professional Football
League (2003), and works on the League's institutional image.
In time, the artist creates installations that present themselves
as more absolute devices (Dr. Lacan's office, 1998).Above all,
these installations question our view of ourselves through the
introduction of new materials such as mirrors (The other is me,
1998 ; The observed, 2002). Liquid crystal glass offers the
potential for both transparency and opacity. The alternation
between these two states creates an effect of visual breathing
that reveals at each moment the structure or volume of the work
(The living room II, 2001).The elements made out of cloth are
moving forms that contrast with the solid structure (between
organic and inert) of wood or metal, as in Las Meninas :
Horizontal exercise - a sculptural device - or the works of the
travelling exhibit El final del eclipse [The end of the eclipse],shown
in Spain and Latin America since 2001. Used to changing
paths, the artist shows us that function and form are not
evident. In time, an objectivation of his art work emerges. He
combines his work as sculptor and designer, reinterpreting
furniture and placing it in new paradigms (The last chair,2001).
Since 2002, his installations reveal more than ever the
sensivity of his work (Ashes to ashes, 2002 ; A la mesa, 2003
My 97 sq ft Saint Sulpice square,2003),insidiously pushing the
imaginary towards the border with chaos. Guided by his reflection on psychoanalysis, which was already implicit in his work,
Pablo Reinoso develops an analysis of his views of the discipline
in his Hygienic psy series (published in Le Monde 2, March 13,
2004).
For Designer's Days (Paris,June 2004), whose theme was
the five senses, Reinoso conceived an installation linked to the
unconscious.
The project articulated around the psychoanalytic device
(the armchair and the couch) to evoke a basic psychoanalytic
concept - the unconscious.
Each device,set up with Poltrona Frau show room,included
systems that allowed the expression of the five senses through
the broadcasting of sounds and images and fragrance diffusers.
Two scents created for the occasion represented "perfumeevocations" that were a product of the artist's unconscious.Pablo
Reinoso also made a video with the participation of Blanca Li.
In this work,psychoanalytic sessions follow one another,but
the voice has been purposefully replaced by a bodily language.
He lives and works in Paris since 1979
Source : www.pabloreinoso.com
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
PABLO REINOSO
French-Argentinian artist and designer
Born in Buenos Aires, Argentina in 1955
Photographe © Philippe Chancel
PABLO REINOSO
DOUBLE DECKCHAIR
Wood, canvas, fans • Edition of 3 • 280-50-94,5 cm • Courtesy Mouvements Modernes
2002
Pablo Reinoso has practiced sculpture since he was a
teenager. For a long time he worked mainly with wood, slate,
marble, brass, and steel. He focused his search on articulation
and metonymy as well as on space and time.In 1995 he decided
to extend his practice to other materials.
This radical change allowed his sculptures to rid themselves
of the obligations of a matter. To "materialize" this change, he
chose air. Made out of cloth, his installations are divided into
three metaphorical breathing typologies, namely, Breathing,
Persistent, and Contracting. As an example, Breathing installations are equipped with fans that are turned on at regular intervals, creating an impression of visual and auditory breathing
(Breathing monochromes series begun in 1995).At the same
time, they show the interdependent relationship between
breathing and life.
It is also in the 1990s when Pablo Reinoso consolidates his
position as a designer. He designs furniture (Pocketable, 1998)
and a great number of objects, especially since 1997, when he
starts a new path between commercial strategy and art within
the LVMH group. He becomes artistic director of Parfums
Givenchy in 2000, and Parfums Loewe in 2002, where he
designs perfume bottles and cosmetic lines.At the same time,
he creates a bench for the Japanese city of Fukuroi (2000), in
the outskirts of the soccer stadium that became a venue for the
World Cup in 2002.
He creates a new League Cup for the Professional Football
League (2003), and works on the League's institutional image.
In time, the artist creates installations that present themselves
as more absolute devices (Dr. Lacan's office, 1998).Above all,
these installations question our view of ourselves through the
introduction of new materials such as mirrors (The other is me,
1998 ; The observed, 2002). Liquid crystal glass offers the
potential for both transparency and opacity. The alternation
between these two states creates an effect of visual breathing
that reveals at each moment the structure or volume of the work
(The living room II, 2001).The elements made out of cloth are
moving forms that contrast with the solid structure (between
organic and inert) of wood or metal, as in Las Meninas :
Horizontal exercise - a sculptural device - or the works of the
travelling exhibit El final del eclipse [The end of the eclipse],shown
in Spain and Latin America since 2001. Used to changing
paths, the artist shows us that function and form are not
evident. In time, an objectivation of his art work emerges. He
combines his work as sculptor and designer, reinterpreting
furniture and placing it in new paradigms (The last chair,2001).
Since 2002, his installations reveal more than ever the
sensivity of his work (Ashes to ashes, 2002 ; A la mesa, 2003
My 97 sq ft Saint Sulpice square,2003),insidiously pushing the
imaginary towards the border with chaos. Guided by his reflection on psychoanalysis, which was already implicit in his work,
Pablo Reinoso develops an analysis of his views of the discipline
in his Hygienic psy series (published in Le Monde 2, March 13,
2004).
For Designer's Days (Paris,June 2004), whose theme was
the five senses, Reinoso conceived an installation linked to the
unconscious.
The project articulated around the psychoanalytic device
(the armchair and the couch) to evoke a basic psychoanalytic
concept - the unconscious.
Each device,set up with Poltrona Frau show room,included
systems that allowed the expression of the five senses through
the broadcasting of sounds and images and fragrance diffusers.
Two scents created for the occasion represented "perfumeevocations" that were a product of the artist's unconscious.Pablo
Reinoso also made a video with the participation of Blanca Li.
In this work,psychoanalytic sessions follow one another,but
the voice has been purposefully replaced by a bodily language.
He lives and works in Paris since 1979
Source : www.pabloreinoso.com
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
A Voyage of Rediscovery, by Helen Chislet
Photography © Rolf Sachs
ROLF SACHS
3 EQUAL PARTS CHAIR ( ELEMENTAL SERIES)
2008
Edition of 27 • Wood • 43-36-40 cm • Courtesy Mouvements Modernes
German/French, born 1955
Studies: Economic sciences in London and San Francisco, 1975.
Formerly an investment banker living in Switzerland, Sachs 20 years ago could not find a console table that he liked, so he
made one himself.His work,since 1984 or 1985,has included experimental,witty and inventive limited editions of furniture,lighting,
and various objects that incorporate media such as urethane resin, bronze, steel, and neon, and has imaginatively re-interpreted
traditional games. His oeuvre is considered to be outside of the design world’s hierarchy. Sachs is particularly concerned by the
form and function of the chair. His work is often simultaneously poetic, humorous, and tactile. Sachs’s range of lighting is a result
of a collaboration with a industrial glass blower, resulting in a range of highly individualistic forms that sometimes incorporate
neon elements.Since 2006,Sachs has also been active as a stage designer.In 1993,he began showing his work,first at the Salone
del Mobile in Milan and, in 1994, moved to London from Switzerland and opened a studio. Sachs has confessed, “Furniture can
go beyond function, I want to make work that touches you emotionally. In my design work, it’s my German side that comes through.
No decoration, nothing French there”.
Take Two is a very Sachsian title for a show such as this. For Rolf
Sachs is a man who loves puns, jokes, games and wit.Take Two is one
of those phrases that you assume to mean one thing, before realising
there may be ambiguities. Surely it means the recreation or reinterpretation of a familiar object? But hold on, it might just as well be about
the juxtaposition of two contrasting forms or materials.Or for that matter
refer to the cloning of objects. In fact Take Two could just as easily have
been called Double Take,because at its centre is the idea that every object
here displayed at first glance seems one thing, only on closer inspection to be revealed to be quite another.
Spitting Image Chair illustrates Sachs’s subtlety of message beautifully.For here is a chair of the most utilitarian design - subliminally lifted
from his prep school days - and reborn as an amber monolith of cast
resin.The translucence of the material adds further layers of richness
and depth to a form that is both recognisable and wholly different.
Distrustful of overly perfect,over pristine design,Sachs chooses at times
to leave the resin untrimmed - the birth cowl of his new born chair.
Chairs are a whole new vocabulary in Sachs’s hands.While Spineless
speaks of fragility, vulnerability and dependence, a work such as Two’s
Company, Three’s A Crowd celebrates community,companionship and
conversation. In form and scale, chairs are the nearest furniture to us.
Each one has its own signature which can imprint a room with a certain
mood, personality or message.They also represent stories, memories
and very tangible links to our fellow man.That unprepossessing school
chair Sachs cast for Spitting Image would be familiar not only to Sachs
and his peers, but to pupils past and present from schools worldwide. Deep in our psyche we know the weight of it, the smell of it, the
hardness of it.
It is these emotional values inherent in simple household items that
intrigue Sachs.The humbler the design, the more inspired he is to add
his own twist and in so doing to unlock an object’s hidden soul. He is
teaching us to look anew.
Atrue democrat,his palette of materials is equally modest: felt,wood,
cork and blackboard paint are typical of the ingredients he mixes
together. Decoration, ornamentation and ostentation interest him not
one jot. Warmth, integrity, honesty and character are the qualities he
searches for in his work. But while the raw materials may be inexpensive,the technological processes and expert craft traditions he employs
to achieve that alchemic touch are often rare and costly.This is part of
the Sachs smokescreen: the simpler something appears to be, the
greater the chances are it has had a complicated, painful and expensive labour. Ideas are not enough - in Sachs’s work there is often a
passionate menage a trois at play,a coming together of object,material
and process.
He embraces imperfections, the antidote to fakery. These are not
pieces that sit happily within over controlled,over sanitised environments.
These are works that relate directly to all of us, imperfect beings that
we are.
For anyone who has the pleasure of knowing the man personally, it
will comes as no surprise to find games figuring in Take Two. Like
chairs, games speak to us on a very personal level. They ask us to
relax, to laugh, to let go, to take ourselves not too seriously. Sachs
permeates his with some playful metaphors: A Game of Draughts
pits Eastern sake glasses against Western shot ones,while the overscaled
dartboard, Too Big To Miss is an honest solution to his design team’s
lamentable efforts down the pub.
There are some familiar themes in Take Two. Neon is a material that
Sachs first began working with several years ago, driven by the desire
to take a light source that is perceived to be harsh and unlovable and
transform it into something desirable. Artworks such as Aladdin
challenge our preconceptions - there is indeed something magical
about the way light is apparently suspended in the very atmosphere.
While new interpretations of familiar furniture and lighting are at the
core of Take Two, there is also one sculpture: In Two Minds is a cast
resin image of one of Sachs’s sons, over which miniature figures roam.
This juxtaposition of contrasting scales is perhaps a reminder that
we are all tiny players on the world’s stage, no matter how much our
egotistical brains tell us the opposite is true.
But it would be wrong, having said all of this, to think that Sachs is
being clever for clever’s sake or that this is art for art’s sake. It is
doubtful he cares or is even interested in which box people may try to
trap him in - design or art or design-art. Really, who cares? All he asks
is that you look and then that you look again. Find the truth in the
object. Enjoy the contradictions he sets up. Smile.
For these are not just chairs or games or lights. They are chairs and
games and lights with soul. That is the magic ingredient that Sachs
imparts - the hidden quality he finds in humble forms and modest
materials. His desire is to bring an emotional value to an object, rather
than a decorative or a material one.When he focuses our attention on
the familiar and allows us to see it as if for the first time, he opens a
window to other parts of our lives that we can also see as if for the first
time. For the ultimate double take in the world of Sachs is that a show
seemingly devoted to household objects is in fact all about people.Once
you allow yourself to see it, everything becomes crystal clear. It is
human relationships, human emotions and human scale that drives
Sachs’s work forward. Humanity is all that matters to him.
So whatever you do,do not put him on a pedestal.Sachs has no desire
to be a loner, to lift ideas out of the ether. Like that milling sea of
Lilliputian figures,he is very much in the crowd.Take my word for it.Take
two.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
A Voyage of Rediscovery, by Helen Chislet
Photographie © Byron Slater
ROLF SACHS
CONSTRICTOR LAMP
2006
Edition of 7 • Borosilicate glass, argon gas, metal laboratory stand • 100-30-15 cm • Courtesy Mouvements Modernes
German/French, born 1955
Studies: Economic sciences in London and San Francisco, 1975.
Formerly an investment banker living in Switzerland, Sachs 20 years ago could not find a console table that he liked, so he
made one himself.His work,since 1984 or 1985,has included experimental,witty and inventive limited editions of furniture,lighting,
and various objects that incorporate media such as urethane resin, bronze, steel, and neon, and has imaginatively re-interpreted
traditional games. His oeuvre is considered to be outside of the design world’s hierarchy. Sachs is particularly concerned by the
form and function of the chair. His work is often simultaneously poetic, humorous, and tactile. Sachs’s range of lighting is a result
of a collaboration with a industrial glass blower, resulting in a range of highly individualistic forms that sometimes incorporate
neon elements.Since 2006,Sachs has also been active as a stage designer.In 1993,he began showing his work,first at the Salone
del Mobile in Milan and, in 1994, moved to London from Switzerland and opened a studio. Sachs has confessed, “Furniture can
go beyond function, I want to make work that touches you emotionally. In my design work, it’s my German side that comes through.
No decoration, nothing French there”.
Take Two is a very Sachsian title for a show such as this. For Rolf
Sachs is a man who loves puns, jokes, games and wit.Take Two is one
of those phrases that you assume to mean one thing, before realising
there may be ambiguities. Surely it means the recreation or reinterpretation of a familiar object? But hold on, it might just as well be about
the juxtaposition of two contrasting forms or materials.Or for that matter
refer to the cloning of objects. In fact Take Two could just as easily have
been called Double Take,because at its centre is the idea that every object
here displayed at first glance seems one thing, only on closer inspection to be revealed to be quite another.
Spitting Image Chair illustrates Sachs’s subtlety of message beautifully.For here is a chair of the most utilitarian design - subliminally lifted
from his prep school days - and reborn as an amber monolith of cast
resin.The translucence of the material adds further layers of richness
and depth to a form that is both recognisable and wholly different.
Distrustful of overly perfect,over pristine design,Sachs chooses at times
to leave the resin untrimmed - the birth cowl of his new born chair.
Chairs are a whole new vocabulary in Sachs’s hands.While Spineless
speaks of fragility, vulnerability and dependence, a work such as Two’s
Company, Three’s A Crowd celebrates community,companionship and
conversation. In form and scale, chairs are the nearest furniture to us.
Each one has its own signature which can imprint a room with a certain
mood, personality or message.They also represent stories, memories
and very tangible links to our fellow man.That unprepossessing school
chair Sachs cast for Spitting Image would be familiar not only to Sachs
and his peers, but to pupils past and present from schools worldwide. Deep in our psyche we know the weight of it, the smell of it, the
hardness of it.
It is these emotional values inherent in simple household items that
intrigue Sachs.The humbler the design, the more inspired he is to add
his own twist and in so doing to unlock an object’s hidden soul. He is
teaching us to look anew.
Atrue democrat,his palette of materials is equally modest: felt,wood,
cork and blackboard paint are typical of the ingredients he mixes
together. Decoration, ornamentation and ostentation interest him not
one jot. Warmth, integrity, honesty and character are the qualities he
searches for in his work. But while the raw materials may be inexpensive,the technological processes and expert craft traditions he employs
to achieve that alchemic touch are often rare and costly.This is part of
the Sachs smokescreen: the simpler something appears to be, the
greater the chances are it has had a complicated, painful and expensive labour. Ideas are not enough - in Sachs’s work there is often a
passionate menage a trois at play,a coming together of object,material
and process.
He embraces imperfections, the antidote to fakery. These are not
pieces that sit happily within over controlled,over sanitised environments.
These are works that relate directly to all of us, imperfect beings that
we are.
For anyone who has the pleasure of knowing the man personally, it
will comes as no surprise to find games figuring in Take Two. Like
chairs, games speak to us on a very personal level. They ask us to
relax, to laugh, to let go, to take ourselves not too seriously. Sachs
permeates his with some playful metaphors: A Game of Draughts
pits Eastern sake glasses against Western shot ones,while the overscaled
dartboard, Too Big To Miss is an honest solution to his design team’s
lamentable efforts down the pub.
There are some familiar themes in Take Two. Neon is a material that
Sachs first began working with several years ago, driven by the desire
to take a light source that is perceived to be harsh and unlovable and
transform it into something desirable. Artworks such as Aladdin
challenge our preconceptions - there is indeed something magical
about the way light is apparently suspended in the very atmosphere.
While new interpretations of familiar furniture and lighting are at the
core of Take Two, there is also one sculpture: In Two Minds is a cast
resin image of one of Sachs’s sons, over which miniature figures roam.
This juxtaposition of contrasting scales is perhaps a reminder that
we are all tiny players on the world’s stage, no matter how much our
egotistical brains tell us the opposite is true.
But it would be wrong, having said all of this, to think that Sachs is
being clever for clever’s sake or that this is art for art’s sake. It is
doubtful he cares or is even interested in which box people may try to
trap him in - design or art or design-art. Really, who cares? All he asks
is that you look and then that you look again. Find the truth in the
object. Enjoy the contradictions he sets up. Smile.
For these are not just chairs or games or lights.They are chairs and
games and lights with soul. That is the magic ingredient that Sachs
imparts - the hidden quality he finds in humble forms and modest
materials. His desire is to bring an emotional value to an object, rather
than a decorative or a material one.When he focuses our attention on
the familiar and allows us to see it as if for the first time, he opens a
window to other parts of our lives that we can also see as if for the first
time. For the ultimate double take in the world of Sachs is that a show
seemingly devoted to household objects is in fact all about people.Once
you allow yourself to see it, everything becomes crystal clear. It is
human relationships, human emotions and human scale that drives
Sachs’s work forward. Humanity is all that matters to him.
So whatever you do,do not put him on a pedestal.Sachs has no desire
to be a loner, to lift ideas out of the ether. Like that milling sea of
Lilliputian figures,he is very much in the crowd.Take my word for it.Take
two.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
A Voyage of Rediscovery, by Helen Chislet
Photographie © Byron Slater
ROLF SACHS
ONE ON TOP OF THE OTHER
2006
Polyurethan chairs • 81-42-41 cm • Courtesy Mouvements Modernes
German/French, born 1955
Studies: Economic sciences in London and San Francisco, 1975.
Formerly an investment banker living in Switzerland, Sachs 20 years ago could not find a console table that he liked, so he
made one himself.His work,since 1984 or 1985,has included experimental,witty and inventive limited editions of furniture,lighting,
and various objects that incorporate media such as urethane resin, bronze, steel, and neon, and has imaginatively re-interpreted
traditional games. His oeuvre is considered to be outside of the design world’s hierarchy. Sachs is particularly concerned by the
form and function of the chair. His work is often simultaneously poetic, humorous, and tactile. Sachs’s range of lighting is a result
of a collaboration with a industrial glass blower, resulting in a range of highly individualistic forms that sometimes incorporate
neon elements.Since 2006,Sachs has also been active as a stage designer.In 1993,he began showing his work,first at the Salone
del Mobile in Milan and, in 1994, moved to London from Switzerland and opened a studio. Sachs has confessed, “Furniture can
go beyond function, I want to make work that touches you emotionally. In my design work, it’s my German side that comes through.
No decoration, nothing French there”.
Take Two is a very Sachsian title for a show such as this. For Rolf
Sachs is a man who loves puns, jokes, games and wit.Take Two is one
of those phrases that you assume to mean one thing, before realising
there may be ambiguities. Surely it means the recreation or reinterpretation of a familiar object? But hold on, it might just as well be about
the juxtaposition of two contrasting forms or materials.Or for that matter
refer to the cloning of objects. In fact Take Two could just as easily have
been called Double Take,because at its centre is the idea that every object
here displayed at first glance seems one thing, only on closer inspection to be revealed to be quite another.
Spitting Image Chair illustrates Sachs’s subtlety of message beautifully.For here is a chair of the most utilitarian design - subliminally lifted
from his prep school days - and reborn as an amber monolith of cast
resin.The translucence of the material adds further layers of richness
and depth to a form that is both recognisable and wholly different.
Distrustful of overly perfect,over pristine design,Sachs chooses at times
to leave the resin untrimmed - the birth cowl of his new born chair.
Chairs are a whole new vocabulary in Sachs’s hands.While Spineless
speaks of fragility, vulnerability and dependence, a work such as Two’s
Company, Three’s A Crowd celebrates community,companionship and
conversation. In form and scale, chairs are the nearest furniture to us.
Each one has its own signature which can imprint a room with a certain
mood, personality or message.They also represent stories, memories
and very tangible links to our fellow man.That unprepossessing school
chair Sachs cast for Spitting Image would be familiar not only to Sachs
and his peers, but to pupils past and present from schools worldwide. Deep in our psyche we know the weight of it, the smell of it, the
hardness of it.
It is these emotional values inherent in simple household items that
intrigue Sachs.The humbler the design, the more inspired he is to add
his own twist and in so doing to unlock an object’s hidden soul. He is
teaching us to look anew.
Atrue democrat,his palette of materials is equally modest: felt,wood,
cork and blackboard paint are typical of the ingredients he mixes
together. Decoration, ornamentation and ostentation interest him not
one jot. Warmth, integrity, honesty and character are the qualities he
searches for in his work. But while the raw materials may be inexpensive,the technological processes and expert craft traditions he employs
to achieve that alchemic touch are often rare and costly.This is part of
the Sachs smokescreen: the simpler something appears to be, the
greater the chances are it has had a complicated, painful and expensive labour. Ideas are not enough - in Sachs’s work there is often a
passionate menage a trois at play,a coming together of object,material
and process.
He embraces imperfections, the antidote to fakery. These are not
pieces that sit happily within over controlled,over sanitised environments.
These are works that relate directly to all of us, imperfect beings that
we are.
For anyone who has the pleasure of knowing the man personally, it
will comes as no surprise to find games figuring in Take Two. Like
chairs, games speak to us on a very personal level. They ask us to
relax, to laugh, to let go, to take ourselves not too seriously. Sachs
permeates his with some playful metaphors: A Game of Draughts
pits Eastern sake glasses against Western shot ones,while the overscaled
dartboard, Too Big To Miss is an honest solution to his design team’s
lamentable efforts down the pub.
There are some familiar themes in Take Two. Neon is a material that
Sachs first began working with several years ago, driven by the desire
to take a light source that is perceived to be harsh and unlovable and
transform it into something desirable. Artworks such as Aladdin
challenge our preconceptions - there is indeed something magical
about the way light is apparently suspended in the very atmosphere.
While new interpretations of familiar furniture and lighting are at the
core of Take Two, there is also one sculpture: In Two Minds is a cast
resin image of one of Sachs’s sons, over which miniature figures roam.
This juxtaposition of contrasting scales is perhaps a reminder that
we are all tiny players on the world’s stage, no matter how much our
egotistical brains tell us the opposite is true.
But it would be wrong, having said all of this, to think that Sachs is
being clever for clever’s sake or that this is art for art’s sake. It is
doubtful he cares or is even interested in which box people may try to
trap him in - design or art or design-art. Really, who cares? All he asks
is that you look and then that you look again. Find the truth in the
object. Enjoy the contradictions he sets up. Smile.
For these are not just chairs or games or lights.They are chairs and
games and lights with soul. That is the magic ingredient that Sachs
imparts - the hidden quality he finds in humble forms and modest
materials. His desire is to bring an emotional value to an object, rather
than a decorative or a material one.When he focuses our attention on
the familiar and allows us to see it as if for the first time, he opens a
window to other parts of our lives that we can also see as if for the first
time. For the ultimate double take in the world of Sachs is that a show
seemingly devoted to household objects is in fact all about people.Once
you allow yourself to see it, everything becomes crystal clear. It is
human relationships, human emotions and human scale that drives
Sachs’s work forward. Humanity is all that matters to him.
So whatever you do,do not put him on a pedestal.Sachs has no desire
to be a loner, to lift ideas out of the ether. Like that milling sea of
Lilliputian figures,he is very much in the crowd.Take my word for it.Take
two.
112-114 rue la boétie
75008 paris france
t +33 (0)1 45 08 08 82
f +33 (0)1 45 08 01 02
[email protected]
www.mouvementsmodernes.com
Photography © DR
GILBERT VALENTIN
VASE VALENTIN
c. 1950
Ceramic • H 60 cm
French, 1928-2000
Craftsman in wrought iron, ceramist
Born in a family of wrought iron craftsmen, Gilbert Valentin moved naturally towards iron and wood techniques. In 1946, he
discovered ceramic and started a more professionnel training at the National school in Vierzon, then was recruited as an
engineer at the earthenware factory in Lunéville. In 1950, he set up with his wife Lilette, in Vallauris, next to Picasso’s studio. He
named his own workshop “Archangel studio”. 1950 to 1963 were the best years of Archangel ceramic workshop, creating robust
pieces in red clay, often covered with black grained glaze on which patches of pure colour were thrown During this time, he also
did painting, sculpture, weaving, lithography and metal work. He actively participated in the artistic revival of Vallauris.After 1963,
he went back to work with metal, then back again to ceramic, giving up his early abstract décors in favour of brightly coloured
flowers, fruit, birds and faces.