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Gaetano Pesce

By Leo Gullbring
No wonder the giant posters on the streets of Milan portraits Gaetano Pesce wearing a gas mask. When the Triennale gets crowded by a abounding attendance at his first major exhibition in Italy, it's all about provoking. All kind of mellifluous shapes crafted out of plastic polyurethane, resin, silicon and rubber seethe the halls. Some moulded as giant manifestos, others soft and tactile. At the eve of the inauguration the spaces of the Triennale are boiling with a public confronted by asymmetric eye-glasses, giant lamps made out of shreds, drawings of his summerhouse out of rubber in Brazil, not to forget the velvety inviting 'Mamma Mia' of the UP5-serie (this time with the chained ball originally included as an ironic comment on women's role in society). Daring colours adorns all these objects crying for attention hanged from the ceiling, on the walls, cluttering the floor. The overcrowding is too much, and that's of course the intended effect. The curators at the Triennale of Milan take in turn to adapt the some 300 objects from 40 years of incessant works in the nine rooms to their own whims and wishes. Some will be covered, others are high-lighted. And that's all in the spirit of Pesce. You've got to choose, you mustn't accept everything.



UP
Published in i'architecture d'aujourd'hui, 2005
2007 Calimero