matali crasset departs to uchronia at the galerie thaddaeus ropac
 
matali crasset departs to uchronia at the galerie thaddaeus ropac
jun 16, 2013

matali crasset departs to uchronia at the galerie thaddaeus ropac

‘voyage en uchronie exhibition at the galerie thaddaeus ropac’ by matali crasset, paris, france
image © philippe servent
all images courtesy of matali crasset

 

 

 

voyage in uchronie
galerie thaddaeus ropac, paris, france
on now to j

 

 

on display now at the galerie thaddaeus ropac in paris france, the furniture collection by french designer matali crasset entitled ‘the permanents’ depicts eerily hooded felt pieces that resemble cloaked members of a community — the same pieces that are featured in her short film ‘voyage en uchronie: salvatico è colui che si salva‘ made in collaboration with artists juli susin and julia rublow. each fixture is placed in a distinct position that suggests its intended use, anywhere from lying down to the particular direction it faces. the outer grey envelope representing the tougher exterior that every person possesses is balanced by a bright orange pad that further emphasizes its function and the vibrancy of the inner spirit. in the film, the same pieces are shown in action, as the protagonists perform various rituals in their search for the mountain uchronia.

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
landscape of black lines suggest a spatial organization and circulation
image © philippe servent

 

 

‘uchronia’ is a utopia, a recurrent theme in the french designer’s work, in which she references her attachment to social thinkers such as claude nicolas ledoux, charles fourrier and jane addams. the group of furniture, ‘the permanents’, which comprise the show are constructed around this idea of a spinal column. each of the modules partially surrounds a body while standing, sitting or laying down, with the folded form protecting one’s head, the ‘garments’ pared down to their simplest terms, offering a shell that envelopes the human being. collectively the scheme evokes that of a primitive life and includes a chair, a light, cabinet of curiosities, portrait gallery, wooden bell, a cradle typology –one used for thinking, for concentrating in and a module to meet others.

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
gallery view
image © philippe servent

 

 

I think of the exhibition as a space for introspection. I’m interested in presenting elements of a moving and developing line of thought by using formalizations far removed from my usual practice with the ‘exhibition’ object. I question my own practice as much as i question design in all its entrenchments, by thinking of it as an autonomous activity, detached from any basic premise. thinking, and suggesting hypotheses, is what excites me in this context‘. – matali crasset

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
one of ‘the permanents’ is a cradle-like structure for lying down in
image © philippe servent

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
general view
image © philippe servent courtesy of galerie thaddaeus ropac

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
image © philippe servent
courtesy of galerie thaddaeus ropac

 

 


matali crasset on ‘voyage to uchronia’ (only in french)
video courtesy of galerie thaddaeus ropac

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
still from the film
image © matali crasset & royal book lodge, courtesy galerie thaddaeus topac

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
image © matali crasset & royal book lodge, courtesy galerie thaddaeus topac

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
image © matali crasset & royal book lodge, courtesy galerie thaddaeus topac

 

 

matali crasset departs to uchronia at the galerie thaddaeus ropac
gallery layout model
image courtesy galerie thaddaeus topac

 

 

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