#designmiami2018

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Highlights from Design Miami! #designmiami2018 #design #miami (at Miami Beach, Florida) https://www.instagram.com/p/BrY2KnUl4Xm/?utm_source=ig_tumblr_share&igshid=f0x03lskla9g

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Galerie Meubles et Lumières presents French Lighting, 1950–1980

Galerie Meubles et Lumières, which was opened in 2014 in the heart of Saint-Germaindes-Prés in Paris by antique dealers Alexandre Goult and Guilhem Faget, exhibits designers who have marked the second half of the twentieth century, including Michel Boyer, Pierre Guariche, Max Ingrand, Jean-Boris Lacroix, Roger Tallon, and Jean-Pierre Vitrac, as well as manufacturers Verre Lumière and Disderot. The gallery concentrates on the rediscovery of creators from the 1950s like Jacques Biny and Robert Mathieu, as well as Xavier-Féal, from the 1970s, with his radical stainless-steel furniture, and Verre Lumière, the crucial manufacturer who collaborated with the biggest designers of the time. Rich in experience and always in search of rare pieces, Goult and Faget make their gallery a place where famous and undiscovered designers meet.

Their Curio presentation is an exhibition of French lighting from the 1950s to the 1980s by such designers as Boyer, Michel Buffet, Guariche, Mathieu, Michel Mortier, and Ben Swildens. There is a rhythm to their space, punctuated by wall, floor, and table lighting, suspensions lights, and ceiling lights. Visitors are intuitively guided through the exhibition chronologically; the objective is to bring a new perspective to the wealth of French decorative arts of this period.

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Galerie Chenel and Oscar Humphries present Origins: Design from the Ancient World

“You cheer my heart, who build as if Rome would be eternal.” —Augustus

This presentation, without precedent at a modern and contemporary design fair, showcases design and architectural elements from 200 BC to approximately 200 AD. Focusing on Greco-Roman art—columns, capitals, urns, and fragmentary sections from interiors and furniture—this Curio brings to life an ancient civilization from which all Western art and design derives.

At times these rare materials feel protomodernist in their simplicity. Fluted columns recall Art Deco architecture. Eroded marble is both ancient and minimalist. Each great architectural movement’s protagonists nod to some degree to Rome and Athens, from Andrea Palladio to Ettore Sottsass. It is remarkable that these objects survived the ravages of time, making their aesthetic and philosophical gravitas is all the more powerful. Origins: Design from the Ancient World was conceived to bring this material to a new audience and to give it a new context that demonstrates the fundamental synergy of great design from any period, as well as its profound differences.

This Curio is a partnership between the fine art and design curator Oscar Humphries and Galerie Chenel, Paris. Humphries’s recent exhibitions include Teatro Mollino at Design Miami/ Basel 2017 and Sean Scully-San Cristóbal (2018), which situated sculpture and paintings in Luis Barragán’s modernist masterpiece Cuadra San Cristóbal. Galerie Chenel, headed by Adrien and Ollivier Chenel, is one of the world’s leading galleries specializing in ancient art. Members of Syndicat National des Antiquaires, the International Association of Dealers in Ancient Art (IADAA), the Union Française des Experts (UFE), and Carré Rive Gauche, provenance and authenticity are paramount to this family business.

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Ceramica delle Tenebre/ Ettore Sottsass, 1963 / Courtesy of Ivan Mietton/ IMDA

Ivan Mietton presents Ettore Sottsass: Una Piccola Stanza

Ettore Sottsass: Una Piccola Stanza is a snapshot of a 1965 Italian living room featuring Sottsass’s furniture and ceramics made during his extremely productive period when he met— through his fi rst wife, writer and translator Fernanda Pivano—writers like Allen Ginsberg, Jack Kerouac, and Ernest Hemingway.

Sottsass said: “In 1965, the iconographic elements I had at my disposal came mostly from popular peasant culture. For example, the large feet, the large curves, ceramics.” He started at that time to develop a new vocabulary of forms and colors and the use of new materials in his designs. The sideboard on view is made of rosewood with bronze handles and lacquered colored stripes, whereas the earlier Barbarella, a writing cabinet that features three drawers above a drop-front writing surface, is made of walnut. In his ceramics he used lava, stoneware, clay, and earthenware to create simple geometric forms.