AUTARCHY AND BOTANICA

AUTARCHY & BOTANICA

By FORMAFANTASMA

 

Hasta el 22 de Junio

Until 22nd June

Otrascosas de Villar-Rosàs

Via Laietana 64. Principal.

Barcelona

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.

+info:

www.formafantasma.com

www.otrascosasdevillarrosas.com

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.

AUTARCHY

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.

BOTANICA

 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

aesthetic.

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.