PARIS DESIGN WEEK, LA ROTONDE, 5-12 SEPTEMBER 2015
In response to a certain obscurity surrounding consumer society and over-consumption, Collective 1992 invited 24 European creators and 10 Russian designers to think about the limits and transitional shifts of the system of objects. Together they questioned the speed of access which disorients our desires and overshadows our real needs resulting in unbridled excess.
Each project filled a green room while short videos representing a selection of objects were broadcast on a single large screen. Visitors studied the black ticker tape exhibition captions, which evoke the earliest digital medium (1867) used on the New York Stock Exchange to monitor ticks or trades, and only occasionally looked at the screen. That is until one of them realized that the whole room, including themselves, was being chroma keyed into each video by an inconspicuous camera and hidden technology.
The interaction between observing an object while being filmed live through the eye of the chroma key compositing illustrates the nature of our relationship to objects, and brings to play the material and the immaterial. Who is looking at whom (or what), or we could simply say that this multi-level g(r)azing reveals something not only about ourselves and the objects that surround us, but the uncountable narratives possible in our collective world.
Russian edition, huh?
La Rotonde at Stalingrad was the ideal venue to put this exhibition in place. Not because of the name, although the name is quite a nice excessive coincidence, but the fact that the 18th century building by the French architect, Claude Nicolas Ledoux, was originally a “barrière d’octroi du mur” or a place where local taxes were collected on various consumer articles before passing through the city walls of Paris. Many economic and political walls have been going up between Russia and the rest of the world in the past several years, and especially now. Russia undoubtedly knows access, excess and speed, the tripartite crux of this exhibition.
Our creative counterparts from Saint Petersburg and Moscow responded to our call, and brought with them objects that encourage us to contemplate the beauty of form and material while bringing our attention to an intelligent focus on detail combined with exquisite craftsmanship. Something we have in common. Creative industry and exchange went beyond political assumptions or social prejudices. A wall was pierced.
La Rotonde has two outdoor terraces overlooking the “Bassin de la Villette”. On one side, a ramshackle greenhouse resembling a Baltard Pavillion orignally built for the “Les Halles” central market, where Parisians bought fresh produce, dairy, meat and poultry, hosted a photo exhibition entitled #animalporn. On the opposite side, two dilapidated boat containers were rehabilitated by the 1992 team. Street artists were invited to use them as an open canvas #streetporn, but before doing so we asked them to transform the containers into gigantic 24 karat gold bricks. Many world currencies had backed the dollar because it was pegged to the gold standard. In 1971, the American President Richard Nixon abandoned the gold standard. The dollar became what is known as Fiat currency. Fiat currency has no intrinsic value. It is money only because the government says it’s money. We create value in the valueless.
#curation #bryakina #covington #kudryavtseva #loiret #exhibitiondesign #bolddesign #visualidentity #studioplastac #tarkett #royalamsterdam #grolsch #larotonde #parisdesignweek #maisonetobjet #collective1992
Curatorial note. So WTF is this exhibition about?
(Understanding social transformation through @COLLECTIVE1992 INSTAGRAM was made to document this exhibition – while the FB page began with the exhibition Unpreditable Design.)