David Adjaye Tatiana Bilbao Kunlé Adeyemi SO–IL

PIN – UP 18
MAGAZINE FOR ARCHITECTURAL ENTERTAINMENT
FLÂNEUR FOREVER
Hermes.com
SPRING SUMMER 2015
1-800-441-4488
Magazine for
Architectural Entertainment
Issue 18
Spring Summer 2015
USD 20.00
Featuring
David Adjaye
Tatiana Bilbao
Kunlé Adeyemi
SO–IL
with Justin Berry, Stephen Burks,
Frida Escobedo, DIS, Miguel Fisac,
Mame-Diarra Niang, Valerio
Olgiati, Adam Pendleton, Anders
Ruhwald, Atang Tshikare
Plus a 48-page
CARNET
D’AFRIQUE
BY
IWAN BAAN
THE PIN – UP
BOARD
OFF THE WALL
Mame-Diarra Niang, Le mur #1 (2014); Inkjet pigment print on 300g
cotton paper, 16 x 11 inches. Courtesy Stevenson Galler y.
A stellar
line-up of
books,
buildings,
exhibitions,
objects, and
people all
readers
should know
about.
Mame-Diarra Niang, Le peuple du mur #3 (2014); Inkjet pigment print on
300g cotton paper, 14.5 x 21.6 inches. Courtesy Stevenson Galler y.
M
Mame-Diarra Niang, Détail du mur #13 (2014); Inkjet pigment print on 300g cotton paper,
16 x 11 inches. Courtesy Stevenson Galler y.
PIN–UP
42
Background: Mame-Diarra Niang,
21 Untitled (Sahel Gris) (2013).
Courtesy Stevenson Galler y.
BOARD
43
ame-Diarra Niang’s photographs demand pause.
In a series called Sahel Gris (“gray Sahel”), images
of stark concrete buildings stand hauntingly in unpeopled urban-desert landscapes. The concrete, shrubs,
and sand in de-saturated shades of beige or gray look so
chalky it seems the photos would be dusty to the touch.
The pictures are a testament to Niang’s biography,
to West Africa’s shifting landscape and, on a more philosophical level, to individualism and community, and
how one is so often partially sacrificed for the other.
Sahel Gris’s single-family concrete homes have been
going up on the outskirts of Dakar, one of the cities
Niang lived in during her itinerant childhood (born in
Lyon in 1982, she grew up in France, Senegal, and the
Ivory Coast, spending long periods with grandparents
and extended family). “But it was not our custom to
live this way,” she says of the housing shown in Sahel
Gris. “We lived in our family homes or with each other.
Now we are seeing a real search for individuality; individualism reigns in these kinds of dwellings.” Other
series — including one in which Niang traces her
childhood paths through now-derelict Dakar neighborhoods, or piles of cars in Abidjan — show more color,
chaos, and yes, beauty. Often shooting from moving
taxis, she traces urban and semi-urban landscapes,
underscoring her own futile search for home, and
exploring, as an artist of the diaspora, the malleable
concept of territory, sometimes from up close, yet
often behind the symbolic protection of a windshield.
This autodidact, who claims her art began when
she filmed her father’s funeral in 2007, had her first
solo show at the Institut Français du Sénégal in 2013.
But she began shooting long before, at age 14, when
she snapped her father slaughtering sheep. Years
PAULIN
COUNT
Mame-Diarra Niang, Le mur #7 (2014); Inkjet pigment print on
300g cotton paper, 14.5 x 21.6 inches. Courtesy Stevenson Galler y.
Clockwise from top left: Élysée Bookcase (1971), smoked plexiglas, palisander
base; Dining Table (1981), yellow painted wood, glass; Spider Chair (1965),
white lacquered wood, nylon rope; Ribbon chair and ottoman (1965), Jack Lenor
Larsen upholster y, lacquered wood base. Courtesy Demisch Danant Galler y.
Mame-Diarra Niang, Le peuple du mur #9 (2014); Inkjet pigment print
on 300g cotton paper, 14.5 x 21.6 inches. Courtesy Stevenson Galler y.
T
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Background: Mame-Diarra Niang,
21 Untitled (Sahel Gris) (2013).
Courtesy Stevenson Galler y.
Mame-Diarra Niang, Le mur #6 (2014); Inkjet pigment print on
300g cotton paper, 21.6 x 32.3 inches. Courtesy Stevenson Galler y.
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he design world
loves an unproduced prototype,
that rediscovered could-have-been
that never was. And Louis Vuitton hit
the jackpot with its exhibition Playing
With Shapes. The show’s dozen or
so previously unrealized pieces,
designed by the legendary Pierre
Paulin (1927–2009) for Herman Miller
in 1972, propose modular transformable concepts for residential design.
They were the talk of the town during
Miami art week last December, and
a herald of what’s to come in 2015:
a year filled with celebrations of the
Frenchman’s career, set to explode
the public’s understanding of Paulin’s
legacy.
In May, New York’s Demisch
Danant gallery will present an eponymous exhibition focusing on Paulin,
with 20 pieces
ranging from his most wellknown works to some never
before shown. According to
gallerist Suzanne Demisch,
the show — which will sit
under a tent-like structure of
stretched jersey, a homage to
the interior Paulin designed in the
early 70s for the Paris store Meubles
et Fonction — will demonstrate the
designer’s talents beyond his legendarily futuristic 1960s chairs for
Artifort. “Paulin is often misunderstood. He didn’t consider himself a
Pop designer. He was more influenced
by function and a Bauhaus approach,”
she explains, pointing to various
pieces throughout Paulin’s career,
including his highly rational works
in the 1950s for Thonet. Illustrating
her point, the show will include more
traditional forms from the early 80s,
as well as rare examples from Paulin’s
1971 apartment in the Elysée Palace
for French president George Pompidou. In Demisch’s view, “People are
only now understanding that he was
one of the most prolific and important
designers of the 20th century.”
There’s no better advocate today
for the designer’s vision than his son,
Benjamin, who recently launched the
new label Paulin Paulin Paulin to keep
his father’s legacy alive with books,
exhibitions, and even more could-
later, such dispassionate distance is still tangible
in Niang’s photography, but she’s begun to test the
limits of cultural norms and taboos in other media as
well. At Dak’Art 2014, Niang created a performance
installation called Ethéré — a piece referencing a
have-beens. “My father was a really
hard worker,” he
says, listing a
variety
o f
The Elysée Chair and
Stool (below) and Light
Table (far below) were
both designed in 1971
for French president
George Pompidou’s
smoking room in the
Elysée Palace in Paris.
Courtesy Demisch
Danant.
v
Using a model and documentation
from the archives, Louis Vuitton
recently brought to life modular
home interiors Paulin originally
designed in 1972 for Herman Miller.
© Archives Pierre Paulin
Mame-Diarra Niang, Le peuple du mur #4 (2014); Inkjet pigment print
on 300g cotton paper, 14.5 x 21.6 inches. Courtesy Stevenson Galler y.
unproduced designs in the designer’s
archive: carpets, watches, even cars
for Renault. Some will be shown to
the public this October at the Centre
Pompidou, which is planning a muchanticipated retrospective.
Rounding out Paulin’s year
of revival, French brand
Ligne Roset is putting
the designer’s very
first collection
into
production: a series of
Nordic-inspired
pieces
first
shown in 1953
The Meubles et
Fonction showroom
in Paris designed
by Pierre Paulin in
1970. Courtesy
of Demisch Danant.
One of Paulin’s lesserknown designs from
the mid-50s employed
seating techniques
used in the automobile
industr y (below).
It was successfully
reissued by
Ligne Roset in 2009.
Mame-Diarra Niang, Le peuple du mur #1 (2014); Inkjet pigment print
on 300g cotton paper, 21.6 x 32.3 inches. Courtesy Stevenson Galler y.
2009 incident in Senegal when neighbors twice disinterred a gay man’s corpse from the cemetery and
dumped it on his parents’ doorstep (homosexuality is
illegal in Senegal; Niang realized after her father died
that she, as a lesbian woman, couldn’t be buried next
to him). She dug a grave in the grassy lawn behind
Dakar’s Galerie Atiss, lining it with mirrors to reflect
the sky, and had participants lie down on a shroud
next to it. Days later she left the country on a one-way
ticket.
Now dividing her time between South Africa and
France, Niang hopes to keep her practice from veering
too drastically toward activism — photography offers
a neutral medium to explore topics of urbanism, landscape, death, and life. “Each series can read like a
movie,” she says. A movie of current seismic societal
shifts in Western Africa, infused with her own very
personal history.
Kimberly Bradley
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and originally conceived for young,
postwar households. But no matter
how many treasures are unearthed
and resurrected, some designs have
been lost forever. “Unfortunately,”
explains his son, “my father was the
kind of guy who burned all the things
he didn’t like. There are a lot of beautiful things I would love to have that
don’t exist anymore. And my father
was very generous, so he gifted a
lot of prototypes to friends and galleries. He wasn’t at all interested in
the money or the speculation. He was
always looking to the future. It was
about the creativity, never the business, ever.”
Dan Rubinstein
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