AUTARCHY AND BOTANICA
AUTARCHY & BOTANICA
Hasta el 22 de Junio
Until 22nd June
Via Laietana 64. Principal.
Una vez más, Otras Cosas de Villarosàs nos propone una exposición muy interesante.
Los diseñadores italianos Andrea Trimarchi y Simone Farresin son Studio Formafantasma, un estudio con base en Eindhoven, Holanda. Ya en la universidad, en Florencia, empezaron a colaborar, pero no fue hasta su llegada a a la Design Academy donde empezó su interés por el diseño de producto.
Su trabajo explora temas como el rol del diseño en la artesanía tradicional, la relación entre tradición y cultura local, los acercamientos críticos a la sostenibilidad o el significado de los objetos como conductas culturales. De alguna forma ellos se identifican como un puente entre la artesanía, la industria, el objeto y el usuario, buscando estimular un mayor diálogo de diseño crítico y conceptual a través de su trabajo.
Algunos de sus productos ya forman parte de las colecciones de Droog Design, Rossana Orlandi Gallery, Moss Gallery, The Art Institute of Chicago o Vitra Design Museum, entre otros. Y su trabajo ha pasado desde la Design Miami/Basel hasta la Dutch Design Week, Milán, Nueva York o incluso por la prestigiosa casa de subastas Sotheby en Londres. Y ahora toca en Barcelona, donde Otrascosas de Villar-Rosàs presenta dos de sus proyectos más representativos: Autarchy y Botanica.
Once again, a design related insider recommendation one can find at Otras Cosas de Villarosàs, the design gallery hidden in an old bank office.
This time they are showcasing the collections Autarchy and Botanica by the Italian designers Andrea Trimarchi and Simone Farresin from Studio Formafantasma.
Their work explores aspects such as the role of design in traditional artisanry, the relation between tradition and local culture, the critical approach to sustainability or the significance of the objects as cultural behaviours. In a certain way, the designers describe themselves as bridge between artisanry, the industry, the object and the user. Through their work, they try to stimulate a mayor dialogue about critical and conceptual design.
Aquí copiamos además la información de su kit de prensa (perdonad, solo en inglés).
Here we also copy the information we got from their press kit.
Developing further the material and the concept of the previous project “Baked”, inspired by the folk event of the “cene di San Giuseppe” in Sicily, “Autarchy” is an installation that proposes an autonomous way of producing goods and outlines a hypothetical scenario where a community is embracing a serene and self inflicted embargo where nature is personally cultivated, harvested and processed, to feed and make tools to serve human necessities.
“Autarchy” pays homage to the uncomplicated, the simple and the everyday.
In the installation, a collection of functional and durable vessels and lamps, naturally desiccated or low temperature baked, are produced with a bio-material composed of 70% flour, 20% agricultural waste, and 10% natural limestone. The differences in the colour palette are obtained by the selection of distinct vegetables, spices and roots that are dried, boiled or filtered for their natural dyes.
As guests in the project, Studio Formafantasma invited the Italian broom maker Giuseppe Brunello and the renowned French bakery Poilane, to join in the development of the installation. The cereal Sorgho works as a link between these crafts – in a perfect production process without waste, the cereal is harvested and used to create tools, vessels and foods.
As an open source where information and knowledge are shared, the installation displays the different steps in the research, explaining the material and production processes of the products.
The furniture used to display the products are based on the manufacturing and drying processes used in the project, and feature a drying oven and mill.
“Autarchy” suggests an alternative way of producing goods where inherited knowledge is used to find sustainable and uncomplicated solutions.
Botany, as a discipline, began with early human efforts to identify edible,
medicinal and poisonous plants, making it one of the oldest sciences.
More then two centuries ago plants started to be categorized also for
their secretions, a possible source of material.
The objects displayed in the Botanica collection are designed as if the
oil- based era, in which we are living, never took place. Almost as if
historians, Studio Formafantasma investigated the pre-Bakelite period,
discovering unexpected textures, feelings and technical possibilities
offered by natural polymers extracted from plants or animal-derivatives.
The designers researched and hunted for information, digging into the
18th and 19th centuries, when scientists began experimenting draining
plants and animals in search for plasticity.
Rosin, Dammar, Copal (a sub-fossil state of amber), Natural Rubber,
Shellac (a polymer extracted from insect excrement that colonize trees)
and Bois Durci (a 19th century material composed of wood dust and
animal blood), are amongst others, materials investigated by the studio.
The organic details and plant-like forms of the pieces underline the
vegetal and animal origins of the resins, while the palette of colours is
based on natural amber tones in combination with traditional materials
such as wood, ceramic and metal.
The natural textures and honey-like colours of the resins evoke the
memory of 20th century bakelite objects, however, the finish and details
are somewhat archaic yet contemporary. In Botanica, plastics are used
as precious details, in an attempt to develop a new post-industrial
Today, we can be said to be moving towards a new post-oil era, the pre-oil
era is starting to be globally re discovered in search for alternatives. Online
blogs and archives are constantly collating and updating information
challenging consumers to produce their own plastics, while an American
University is currently importing Russian Dandelion flowers, reigniting
the lost tradition of extracting rubber from the plants roots. In line
with this attitude, Studio Formafantasma looks to the past as a source
of inspiration, while delivering a body of work with a contemporary
twist. With Botanica, Studio Formafantasma offers a new perspective
on plasticity, reinterpreting centuries old technology lost beneath the
impeccable surface of mass production.