giovanni innella thesis
DESCRIPTION
Take a design magazine, experience it. Don’t read it, look at it. Don’t try to understand the content, catch its meaning in the system instead. These works explore the interferences we encounter daily while experiencing design. Interferences that often substitute objects, becoming subjects of their own. The exhibition recalls the unconscious processes of transformation of the real, by doing this, the observer is encouraged to change his/her point of view, so that every glance becomes form. In this way, the designer enters the world of total communication, where the totality of object, image, medium and context constitutes the final product, presaging the possibility of a circular pattern, of an exchange of roles between designer, publishers, curators, auctioneers and manufacturers. In this circularity of roles, the representation constitutes not only the fuel which feeds the system, but also the final product. Nothing is more visible than that which is hidden.TRANSCRIPT
Design and its double (thesis excerpt)Exhibition of exhibitions - skins
A way of representing situations through the use of silicon. In this way every part of the objects is visible. This technique avoids all the variables of photography (position of the object, background, lights, aperture, exposure, ISO…), and it reduces these variables to only two: thickness and color. In this sense we can say that is a less manipulated representation.Museums, galleries, fairs and exhibitions in general are representation factories. Not only because it is in these places that many visitors create images with their cameras or because the interaction with the objects exhibited is limited to the sense of sight, but above all because the context influences the subject irreparably. The value and meaning of the context are transferred to what is exhibited. It is no longer the object which is consumed, but rather a situation, a flow of meanings which portend a circularity of roles or at least an equivalence in valence between the context and the object exhibited.In the month of June the Van Abbemuseum and the Designhuis in Eindhoven exhibited two objects by Hella Jongerius and Studio Job. The exhibition lasted only a day, time enough to generate a representation of the event which has been reproposed at the Droog Gallery.
June 2008
making process
Skin of Studio Job’s piece exhibited at Designhuis Eindhoven
exhibition at Droog gallery - Amsterdam
Skin of Hella Jongerius’ vase exhibited at Van Abbemuseum Eindhoven
Skin of a Joe Colombo’s Universale Chair Tangible representations
A way of representing objects through the use of silicon. In this way every part of the chair is visible. This technique avoids all the variables of photography (positon of the object, background, lights, aperture, exposure, ISO…), and it reduces these variables to only two: thickness and color. Every part of the chair is visible in its real size and texture.In this sense we can state that this is a less manipulated representation.
June 2008
Representation of a design magazine More than a medium, an object
The representation of a magazine means the creation of a fracture between the medium and its content. By means of this operation the reader becomes more of an observer, and can appreciate the medium as an object in its own right. The paper, the compositon of the layout, the printing and also the advertsing, are all elements which compromise our perception of the content, becoming subjects themselves. My intention is that of confronting the visitor face-to-face with such interferences.
June 2008
A pallet and its representation Quality of manufacturing is the subject
The representation of a pallet resembles a pallet, but is not one. A perfectly realized pallet cannot be consid-ered a pallet, but rather an illustraton, a picture. The function is lost, the best quality wood does not meet the ratifi-caton requisites. The object stll refers to the represent-ed pallet, as regards certain details such as the distrib-uton of the nails, the logos, the more evident features… but it acquires an appearance which does not belong to it. At the same tme a distance becomes evident. This distance makes place for the aesthetc of the beautiful representaton, which becomes the subject.
June 2008
Exhibition spaces that produce representations of non-commercial value Giving representation of an owner
• exhibition space that produces “verbal representations” only• exhibition space that produces “encompassing larger area representations” only• exhibition space that produces “close-up representations” only
These three exhibition spaces are meant to generate only copyright-free representations. Even if an object is protected by copyrights, its verbal descripton, the image of its details, or images of the object in a broader context don’t have to respect any restricton and they can be published freely. Those representations are considered of no commercial value.In order to achieve this objective, not only the legal papers, but also the space where the object is exhibited plays a fundamental role. My role has been that of translating into form all these bureaucratic issues.This gives the author complete ownership and control over the representaton of the product. He will be the only one who owns a proper representaton of his design.
Check the flickr album flickr.com/photos/16085461@N00/sets/72157608307272685/
June 2008