Archive for the 'Ron Arad' Category

10
Mar
11

Exhibition: ‘Ideen sitzen. 50 Years of Chair Design’ at Museum für Kunst und Gewerbe, Hamburg

Exhibition dates: 29th September 2010 – 13th March 2011

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I love chairs! There are such fabulous designs throughout the centuries. Once seen as the symbol of ultimate power (only the king and queen could be seated) our favourite chair now occupies the place of form fitting sculpture, the place where we feel most comfortable. Most of these works are not of that mould but they are a tour de force of the designers art and a testament to the mutability of the form, chair.

Many thankx to the Museum für Kunst und Gewerbe, Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Frank Gehry (1929)
“Wiggle Side Chair”
Los Angeles/Cal., U.S.A., 1972
Easy Edges Inc., New York, U.S.A., 1972
84 x 37 x 59 cm
Cardboard, hard fiber board
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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Joe Colombo (1930-1971)
“Elda”
Italy, 1963
Comfort, Meda/Mailand, Italy, 1963
92.5 x 95 x 96 cm
Polyester, reinforced glass-fiber
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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Patrick Jouin (1967)
“C2 Solid Chair”
Paris, 2008
Paris, Frankreich, 2008
78.5 x 40.4 x 54 cm
Plastic (formed with technology of the Stereolithographie/Rapidly Prototyping manufacture)
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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Joris Laarman
“Bone Chair”
Utrecht, 2006
77 x 45 x 76 cm
Aluminum (poured and polished)
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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“With “Ideen sitzen. 50 Years of Chair Design” the Museum für Kunst und Gewerbe is presenting the first large exhibition on recent seat design dating from 1960 to the present day. One hundred exceptional exhibits selected from the high-calibre collection held by the MKG, among them chairs, arm chairs, chaise longues and stools, offer an insight into the most diverse approaches and motivations of design during five eventful decades. The focus lies on the chair as contemporary witness be it as expression of a utopian idea or instrument in political protest, a reaction to ecological changes or a calculated business idea, an experiment with the most recent technologies or a sculptural art object, where the chair – divorced from its function – can only just be recognised as the source of inspiration. Chairs are regarded as the business card of any designer. They are visually more attractive than tables, wardrobes, settees or kitchen furniture and exemplify the increasingly blurry demarcation between art and design.

Designing a chair forms part of the great challenge of any designer. In modernity it seemed to have found its perfect answer in Michael Thonet’s Coffee House Chair Model No. 14, made in the revolutionary bentwood technique. Today, 150 years on, a multitude of new chair designs are demonstrating artistic, technical and social changes. No other object juxtaposes the conflicting interests of design as directly: appropriate functionality versus the free reign of fantasy and autonomous artistic form. A new idea lies at the core of any new seating furniture, which will then be moulded by factors such as use, the market, the target group, the company’s philosophy, materials, production methods, technological progress and not least the designers interests, depending on whether he or she is an artist, sculptor, director, architect or simply a product designer. The expression “same, same – but different” is particularly valid when it comes to chairs: an intellectual and a practical product, which is manifest in hundreds of forms. The exhibition “Ideen sitzen. 50 Years of Chair Design” therefore becomes a reflection of time and its self-concept, its necessities and the longing for freedom of artistic expression.

A design exhibition turns into an art exhibition once it presents autonomous sculpture. The chair freed from its functional requirements becomes a source of information only. The MKG’s most recent acquisitions illustrate this phenomenon of contemporary chair design and demonstrate the increasingly blurred demarcation of art and design. Some of them are design classics: the famous spherical “Sunball” lounge chair by Günter Fedinand Ris, the “Well Tempered Chair” by Ron Arad, chairs by Stefan Wewerka and Alessandro Mendini’s “Proust Armchair” – the latter combining baroque opulence of Louis XV style with an impressionist colour scheme referencing Marcel Proust’s time. The design positions represented in the collection are expanded by Joris Laarman’s “Bone Chair,” which was inspired by the natural growth of bone. Vladi Rapaport turned an oversized skull and an oversized brain into seats called “The skull chair” and “The brain footstool” respectively. Tord Boontje created the bench “Petit Jardin” where a tender web of leaves, flowers and twigs made of white coated laser cut steel is embracing the sitter. For “Veryround” Louise Campbell interlinked 240 steel circles to form an ornamental seat sculpture.

Putting the various ideas and trends in design into their historical context, highlights how directly it is informed by social and economic trends. At the beginning of the 20th Century chair design was dictated by social factors and functionality: good quality seats had to be produced at low cost for the masses. New materials such as steel tube and multiplex warranted new production techniques. The introduction of injection-moulding for plastic chairs in the early 1960s revolutionised ideas yet again. The 1960s are determined by the new prosperity after the war, but also by burgeoning social unrest. The exhibition presents some increasingly unconventional types of armchair, which reflect the tensions of the period. Gaetano Pesce’s “Donna,” 1969 is both: a comfortable armchair and a biting political criticism of women’s role in modern society. The prospect of growing markets led the chemical and furniture industry to invest in the production of plastic chairs, a development, which found its preliminary end in the oil crisis of 1973.

The 1970s produced relatively few sweeping designs; the decade is characterised by the criticism of capitalism, consumerism and a heightened sense of uncertainty in manufacturing. Stefan Wewerka created an icon of instability when he came up with “Classroom Chair”; the tried and trusted breaks away, dissolves. The American architect Frank Gehry on the other hand developed new chairs from corrugated cardboard, constructing and glueing the layers so they withhold the greatest pressure; his “Wiggle Side Chair” is a trendsetting seat constructed with minimal material investment and an original design idea. Towards the end of the century Alessandro Mendini created its antithesis when he combined a neo-baroque silhouette with light colours quoting Impressionism – “Proust”‘s purpose is the quotation of historic style, which makes it one of the early classics of postmodernism. The architectural and design-movement deliberately cited traditional style elements to reinterpret or pass ironic comment on their meaning. Architecture and interior design were turned into an intellectual game.

Around 1980 the postmodernist approach set off the Italian artists group Memphis led by Ettore Sottsass and Michele de Lucchi. Sottsass turned to the past and to architectural evidence of the world’s cultural heritage. He achieved new singular pieces of furniture inspired by sculpture and architecture – colourful monuments that for a few years were recognised as style icons. Memphis introduced fun and joy into the hitherto predominantly grey and brown furniture scene. Their products offer entertainment value. They are evocative of ideas, full of allusions to earlier cultures, hip, they cherish masquerade and express a way of thinking clearly opposed to industrialism and market strategies. Memphis’ furniture is simply made, using MDF laminated in bright colours. It is to Sottsass’ credit, that against the Zeitgeist Memphis made use of ornament.

While the group’s unique furnishing objects created a lust for new furniture, designers in Germany, England, Japan or Switzerland who followed contemporary product design conceived chairs from metal – tubular steel, steel panel or metal mesh. Intellectually these designers are followers of the Bauhaus creations from the 1920s and 1930s and their proposals are accordingly ambitious. Apart from Northern Italy Paris with Philippe Starck and Barcelona established themselves as the new centres of design. Starck designed numerous new models of chairs from various materials – metal, wood and plastic – within only a few years. His philosophy is to offer to the market ideas that are as innovative as possible while being fairly priced. He formed the counterpart to a fad from the 1980s, where design objects were produced in limited editions and offered to an exclusive clientele. Artists such as Donald Judd, Franz West and Bob Wilson were designing chairs and fittingly documenta in 1989 had a focus on design.

The 1990s return to a design ethos bethinking simplicity and rediscovering natural wood. Pale woods and a concise and rational tenor respond to the demand for clear shapes with a warm and natural character. Numerous designers, including Jasper Morrison or Axel Kufus, turn against the euphoria and affluence of the fin de siècle. Rifts within the structure of society are addressed by works such as Tejo Remy’s “Rug Chair” made of leftover shred reinforced by a carbon core and s of fabric. In Brazil the Campana brothers conceive an armchair from waste wood of the slums called “Favela”. The seat is pointing at the destitution of the residents of the slums as well as the creative possibilities inherent in poor materials. Equally Marcel Wanders’ “Knotted Chair” makes use of the simplest rope; its carbon core and hardened epoxy fix the knotted structure in the shape of a chair giving the illusion of the sitter being suspended on a soft hanging structure.

In the first decade of the 21st century designers like Konstantin Grcic or the Bouroullec Brothers continued to work on intelligent solutions for large social groups. At the same time young designers such as the Dutchman Joris Laarman or the Frenchman Patrick Jouin employ digital methods of design, which allow them to calculate new ways of construction. They also make use of Rapid Prototyping. Their objects are highly experimental and seem to offer a glimpse of the world of tomorrow. Other designers like Tord Boontje work with laser cut metal sheet to create ornamental compositions. Most designs by the younger scene are produced in small numbers and are distributed largely by design galleries. The seating furniture of a new era is taking up the elitist impulse of the 1980s – produced in highly limited numbers they are treated as unique art works. Museums who manage to acquire such pieces directly from the artists are thus in a position to present models that are wholly fresh to the eye and provoke spontaneous responses.

As one of the leading museums of its kind in Germany the MKG holds an extensive collection on the history of modern design. The collection of seating furniture is at its core and comprises hundreds of examples of the history of modern design of all periods from leading countries in Europe, Australia, the USA, Brazil and Japan. William Morris, Peter Behrens, Henry van de Velde, Le Corbusier, Ludwig Mies van der Rohe, Alvar Aalto, Eero Saarinen, Charles Eames, Verner Panton, Joe Colombo, Stefan Wewerka, Frank Gehry, Alessandro Mendini, Ettore Sottsass, Michele De Lucchi, Philippe Starck, Shiro Kuramata, Ron Arad, Marc Newson, Jasper Morrison, Tom Dixon, Konstantin Grcic and many more designers are represented in the collection.

Designers and artists: Eero Aarnio, Ron Arad, Archizoom, Teppo Asikainen, Gijs Bakker, Helmut Bätzner, Mario Bellini, Günter Beltzig, Ricardo Blumer, Matteo Borghi, Tord Boontje, Mario Botta, Andrea Branzi, Fernando and Humberto Campana, Louise Campbell, Joe Cesare Colombo, Paolo Deganello, Tom Dixon, Uwe Fischer, Formfürsorge, Piero Gatti, Frank Gehry, Ginbande Design, Konstantin Grcic, Gruppo Strum, Klaus Achim Heine, Patrick Jouin, Donald Judd, Toshiyuki Kita, Poul Kjaerholm, Gunter König, Axel Kufus, Shiro Kuramata, Angela Kurrer, Joris Laarman, Paolo Lomazzi, Ross Lovegrove, Michele de Lucchi, Vico Magistretti, Peter Maly, Enzo Mari, Javier Mariscal, Alessandro Mendini, Jasper Morrison, Marc Newson, Katsuhito Nishikawa, Verner Panton, Cesare Paolini, Jonathan de Pas, Pierre Paulin, Maurizio Peregalli, Gaetano Pesce, Giancarlo Piretti, Tom Price, Dieter Rams, Bernard Rancillac, Vladi Rapaport, Karim Rashid, Tejo Remy, Günter Ferdinand Ris, Herbert Selldorf, Hubert Matthias Sanktjohanser, Peter Schmitz, Stiletto, Ettore Sottsass, Philippe Starck, Studio 65, Roger Tallon, Donato d’Urbino, Marcel Wanders, Franz West, Stefan Wewerka, Robert Wilson, Tokujin Yoshioka and others.”

Press release from Museum für Kunst und Gewerbe, Hamburg

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Alessandro Mendini (1931)
“Poltrona di Proust” (Proust Armchair)
Studio Alchimia, Mailand, 1978
107 x 93 x 90 cm
Wood, Leinenbezug (painted)
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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Ricado Blumer (1959) and Matteo Borghi (1976)
“Origami”
Casciago, 2007
Ycami, Novedrate, 2007
76 x 61 x 63 cm
Aluminium
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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Stefan Wewerka (1928)
“Classroom Chair”
Berlin, 1970
70 x 68 x 40 cm
Wood (painted)
Museum für Kunst und Gewerbe Hamburg, © VG Bild-Kunst, Bonn 2010
Photo: Jörg Arend/Maria Thrun

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Tokujin Yoshioka (1967)
“Honey-Pop Armchair”
Tokyo, Japan, 2000
83 x 81 x 81 cm
Greaseproof paper (folded into form)
Justus Brinckmann Society
Museum für Kunst und Gewerbe Hamburg
Photo: Jörg Arend/Maria Thrun

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Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday and Thursday 11 am – 9 pm

Museum fur Kunst und Gewerbe Hamburg website

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31
Aug
09

Exhibition: ‘Ron Arad: No Discipline’ at The Museum of Modern Art (MOMA), New York

Exhibition dates: 2nd August – 19th October, 2009

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One of my favourite designers! Featuring all the works in the exhibition (under Works) and photographs and video of the installation for the works ‘Cages sans Frontieres’ (2009) (under The Show), there is a really amazing interactive website for this exhibition at
www.moma.org/interactives/exhibitions/2009/ronarad/
and an interesting video of Ron Arad talking about his work at
www.moma.org/explore/multimedia/videos/56/391.

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Ron Arad. 'The Rover Chair' 1981

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Ron Arad
‘The Rover Chair’
1981

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Ron Arad. 'Concrete Stereo' 1983

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Ron Arad
‘Concrete Stereo’
1983

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Ron Arad. 'Sketch for Well Tempered Chair' 1986

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Ron Arad
‘Sketch for Well Tempered Chair’
1986

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Ron Arad. 'Well Tempered Chair' Prototype 1986

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Ron Arad
‘Well Tempered Chair’ Prototype
1986

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Ron Arad. 'Big Easy' 1988

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Ron Arad
‘Big Easy’
1988

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Ron Arad. 'Big Easy. Volume 2' 1988

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Ron Arad
‘Big Easy. Volume 2′
1988

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The Museum of Modern Art presents ‘Ron Arad: No Discipline’, the first major U.S. retrospective of Arad’s work, from August 2 to October 19, 2009. Among the most influential designers of our time, Arad (British, b. Israel 1951) stands out for his adventurous approach to form, structure, technology, and materials in work that spans the disciplines of industrial design, sculpture, architecture, and mixed-medium installation. Arad’s relentless experimentation with materials of all kinds – from steel, aluminum, and bronze to thermoplastics, crystals, fiberoptics, and LEDs – and his radical reinterpretation of some of the most established archetypes in furniture – from armchairs and rocking chairs to desk lamps and chandeliers – have put him at the forefront of contemporary design.

The exhibition features approximately 140 works, including design objects and architectural models, and 60 videos. Most of the objects featured in the exhibition are displayed in a monumental Corten-and-stainless-steel structure specially designed by the artist called Cage sans Frontières (Cage without Borders). The structure measures 126.5 feet (38.5 meters) long, spanning the entire length of the Museum’s International Council gallery, and over 16 feet (5 meters) tall. The exhibition is organized by Paola Antonelli, Senior Curator, and Patricia Juncosa Vecchierini, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Ms. Antonelli states: “Arad is well known for his iconoclastic disregard for disciplines – and, at least apparently, for discipline. He has defined much of the current panorama of design, inspiring a generation of practitioners who disregard established modes of practice in favor of mutant design careers that are flexible enough to encompass the range of contemporary design applications, from interactions and interfaces to furniture and shoes.”

Arad’s accomplishments over the past three decades have stirred up the design world by repeatedly updating the concept of the architect/designer/artist and repositioning design side by side with art, both in discourse and in the market – all while keeping one foot firmly in industrial production and large-scale distribution. Idiosyncratic and surprising, Arad’s designs communicate the joy of invention, pleasure, humor, and pride in the display of their technical and constructive skills.

This exhibition celebrates Arad’s spirit by combining industrial design, studio pieces, and architecture. It features Arad’s most celebrated historical pieces, including the Rover Chair (1981)[see above], the Concrete Stereo (1983) [see above], and the Bookworm bookshelves (1993) [see below], along with more recent products such as the PizzaKobra lamp (2008) [see below] and the latest reincarnation of his Volumes series (1998), the armchair duo titled Even the Odd Balls? (2009) [see below].

‘Cage sans Frontières’ was specially designed by Arad, developed with Michael Castellana from Ron Arad Associates, and manufactured and installed by Marzorati Ronchetti, Italy, under the direction of Roberto Travaglia. The structure is in the shape of a twisted loop and consists of 240 square cut-outs lined with stainless steel that act as shelves for the objects in the exhibition. The dramatic installation relies on the scale of the structure and on the reflectivity of the inner walls of the cut-outs which creates a ricocheting effect. One side of the structure is continually covered with grey gauze fabric that acts as a translucent, elastic membrane. The fabric was donated by the textile company Maharam and was cut and stitched by the jeans manufacturer Notify, which is also a sponsor of the exhibition. The structure was commissioned and lent to the exhibition by Singapore FreePort Pte Ltd, an arts storage facility.

Monitors installed in the structure and on the walls feature animations of the design and production process of some of the objects on view; animated renderings of architectural projects represented in the exhibition by models; and a video showing time-lapse footage of the construction of Cage sans Frontières. Other objects – including the Bookworm and This Mortal Coil bookshelves (both 1993) and the Shadow of Time clock (1986) – are installed along the perimeter of the gallery. Two of Arad’s sofas, Do-Lo-Res (2008) [see below] and Misfits (1993) [see below], are installed outside the exhibition entrance, and visitors are invited to sit on them …

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Ron Arad. 'Soft Big Easy' 1990

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Ron Arad
‘Soft Big Easy’
1990

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Ron Arad. 'Large Bookworm' 1993, Tempered sprung steel and patinated steel

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Ron Arad
‘Large Bookworm’
Tempered sprung steel and patinated steel
1993

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Ron Arad. 'Misfits' 1993

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Ron Arad
‘Misfits’
1993

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Ron Arad. 'D-Sofa' Prototype 1994, Patinated, painted, oxidized stainless steel and mild steel

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Ron Arad
‘D-Sofa’ Prototype
Patinated, painted, oxidized stainless steel and mild steel
1994

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Ron Arad. 'Uncut' 1997

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Ron Arad
‘Uncut’
1997

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Ron Arad. 'FPE (Fantastic, Plastic, Elastic)' 1997, Aluminum and injection-molded polypropylene plastic sheet

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Ron Arad
‘FPE (Fantastic, Plastic, Elastic)’
Aluminum and injection-molded polypropylene plastic sheet
1997

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Ever since he founded his studio, together with long-time business partner Caroline Thorman, in 1981 (first called One Off, and then reestablished in 1989 as Ron Arad Associates), Arad has produced an outstanding array of innovative objects, from limited editions to unlimited series, from carbon fiber armchairs to polyurethane bottle racks. A designer and an architect, trained at the Bezalel Academy of Art in Jerusalem and at London’s Architectural Association School of Architecture, he has also designed memorable spaces – some plastic and tactile, others digital and ethereal – such as the lobby of the Tel Aviv Opera House (1994-98), Yohji Yamamoto’s showroom in Tokyo (2003), and the Holon Design Museum, Israel (nearing completion), all of which will be represented in the exhibition with models and videos. In his influential role as Head of the Design Products Masters’ Degree course at the Royal College of Art in London from 1997 until this year, he has nurtured several innovative designers, including Julia Lohmann, Paul Cocksedge, and Martino Gamper.

The 1981 Rover Chairs [see above], which launched Arad’s design career even though at the time he was not seeking any particular professional label, are emblematic of his early readymade creations. The chairs are made of discarded leather seats from the Rover V8 2L, a British car, anchored in tubular-steel frames using Kee Klamps, an inexpensive scaffolding system. Arad stopped making them once he realized that the overwhelming demand for the chairs was transforming his atelier into a dedicated Rover Chair manufacturer. The Italian company Moroso is about to produce an industrial version of the chair under the name Moreover.

The Concrete Stereo (1983) [see above] is another milestone in Arad’s work with readymades. It is very simply a hi-fi system – with turntable, amplifier, and speakers – cast in concrete. The concrete was then partially chipped away, exposing the steel armature, the electronic components, and the pebbles in the cement.

Objects in the exhibition are grouped as families whose common thread is the exploration, sometimes over years, of a form, a material, a technique, or a structural idea. An example is the investigation of elasticity and surprise that began with the Well Tempered Chair (1986) [see above] – a chair made of four sprung sheets of steel held together by wing nuts that come together to suggest the archetypical shape of an armchair. Another example is the Volumes series (1988), which comprises, among others, his renowned Big Easy (1988) [see above] and its various iterations, among them the Soft Big Easy (1990) [see above] and the painted-fiberglass New Orleans (1999) [see below].

Not Made by Hand, Not Made in China, another important family and a milestone in Arad’s career and in the history of design, is a series of limited-edition objects – vases, sculptures, lamps, and bowls – that Arad presented in 2000 at the annual Milan Furniture Fair. All the objects in the series were made using 3-D printing, which at that time was almost exclusively used to create one-off models for objects that would later be produced in series using traditional manufacturing processes. Treating rapid prototypes as final products rather than templates, Arad turned the new process into an advanced production method, a path that was subsequently followed by several designers.

A more recent family is the Bodyguards (2008) [see below], in which the same initial shape in blown aluminum is differently intersected by imaginary planes and cut to reveal ever-changing personalities, from a rocking chair to a stern bodyguard-like sculpture.

To give life to his ideas, Arad relies on the latitude provided by computers as much as on his own exquisite drafting skills, and he uses both the most advanced automated manufacturing techniques and the simple welding apparatuses in his collaborators’ metal workshops. Often, his work is a combination of high and low technologies, such as his Lolita chandelier (2004) [see below] for Swarovski. Made with 2,100 crystals and 1,050 white LEDs, the Lolita takes the shape of a flat ribbon wound into a corkscrew shape. The ribbon contains 31 processors that enable the display of text messages sent to the Lolita’s mobile phone number. For this exhibition, visitors can send texts to (917) 774-6264. The messages appear at the top of the chandelier and slowly wind down the ribbon’s curves, creating the impression that the chandelier is spinning ever so slightly.”

Press release from the MOMA website

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Ron Arad. 'New Orleans' 1999

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Ron Arad
‘New Orleans’
1999

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Ron Arad. 'Lolita Chandelier' 2004

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Ron Arad
‘Lolita Chandelier’
2004

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Ron Arad. 'Oh Void 2' armchair 2004

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Ron Arad
‘Oh Void 2′ armchair
2004

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Ron Arad. 'Table Paved With Good Intentions' 2005

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Ron Arad
‘Table Paved With Good Intentions’
2005

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MT Rocker Chair, 2005

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Ron Arad
‘MT Rocker Chair’
2005

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Ron Arad. 'Southern Hemisphere' 2007, Patinated aluminum

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Ron Arad
‘Southern Hemisphere’
Patinated aluminum
2007

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Ron Arad. 'Do-Lo-Res' 2008

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Ron Arad
‘Do-Lo-Res’
2008

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Ron Arad. 'PizzaKobra' lamp 2008

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Ron Arad
‘PizzaKobra’ lamp
2008

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Ron Arad. 'Bodyguard' 2008

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Ron Arad
‘Bodyguard’
2008

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Installation Photographs of the Exhibition

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Ron Arad. Installation view of Cage sans Frontières with Even the Odd Balls? 2009

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Installation view of ‘Cage sans Frontières’ with ‘Even the Odd Balls?’ chairs (2009) and ‘Lolita Chandelier’ (2004)

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Ron Arad’s Cage sans Frontières with two Rolling Volume chairs (1989 and 1991), left, and two Bodyguard chairs (2007)

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Ron Arad’s ‘Cage sans Frontières’ with two ‘Rolling Volume’ chairs (1989 and 1991), left, and two ‘Bodyguard’ chairs (2007)

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Ron Arad. 'No Discipline' exhibition

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The Museum of Modern Art (MOMA)
11, West Fifty-Third Street, New York

Opening hours:
Sunday, Tuesday – Thursday 10.30 – 5.30pm
Friday 10.30 – 8pm
Saturday 10.30 – 5.30pm
Closed Tuesday

MOMA website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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