SALONE DEL MOBILE 2003

EXHIBITION OF THE COLLECTION "OXIDIZED" BY STUDIO JOB.

"a new collection of oxidized bronze objects that are Incorporated on French oak tables and cupboards.
Complementary there are new oxidized bronze objects (weapons and symbols) which will be available in edition."

THIS WILL BE A TRAVELING EXHIBITION THAT CONTINUES TO
GRONINGER MUSEUM (HOLLAND) MAY 17 SEPT. 21, 2003.
MARK P. WILSON, GRONINGER MUSEUM, IS THE CURATOR OF BOTH EXHIBITIONS. FOR THE OCCASION SUE AN VAN DER ZIJPP , CURATOR CONTEMPORARY ART GRONINGER MUSEUM, WROTE THE TEXT
“BRAVE NEW WORK” .

“OXIDIZED” at DILMOS

open : 2003, APRIL 10 -14, 10 AM - 9 PM
OPENING :  COCKTAIL, WEDNESDAY APRIL 9, 6 PM

location : dilmos, piazza san marco 1, milano

studio JOB
location: "Stijfselstraat 10, B- 2000 Antwerp, Belgium
www.studiojob.be, office.studiojob.be"
t +31 (0)40 2525458, f +31 (0)40 2525463

FOR INFORMATIONS please CONTACT:
DILMOS, GIANANDREA CASTELLAZZI, MILANO  
PHONE +39 02 29002437 FAX + 39 02 29002350  
INFO@DILMOS.IT

"Brave New Work"

Like a good story teller who's only getting started, Studio Job (Job Smeets
and Nynke Tynagel) each season adds a new chapter to its increasingly grim
tale that initially sounded humorous due to its typical framework.
Studio Job's infectious, caricatural designs that are devoid of scale have
caused considerable uproar lately in the international world of design.
Their works of art provide a commentary on usual interpretations about
functionality, mass production and style by purposely playing with
characteristics such as unity, autonomy and figuration in their designs.
Smeets and Tynagel's new works of art are enveloped in an atmosphere in
which danger, aggression, confusion and fear rule.
With this new installation the artists have intensified and vehemently
turned their backs on style and purpose, as opposed to last year's
installation that exuded a tragicomic atmosphere replete with melancholy and
restlessness.
Instead they show the visitor a fairytale-like installation of bronze
objects that have turned green and, moreover, are decked out with a
sometimes caricatural, over-the-top ornamentation.
Central to this installation is a medieval-like castle perched on top of a
rock formation. The castle, which is also a candlestick holder, is
surrounded by a number of objects such as a securely locked treasure-chest,
a large axe and a broken-down classic clock with attached to it a sword,
turning said clock as it were into "Excalibur"; a bust of a male decked out
in a flashy uniform and ornate dictator-style cap that appears to be hollow
inside and could therefore serve as a vase; and a fake 19th century
decorated goblet with a deer on top that is being cornered by reptiles.
The hero of last year's presentation is back as well: "The Candle Man". This
figure appeared back then as a life-sized wall figure holding two candles in
his hand.
It was not clear whether the Candle Man was an instigator or rather was
bringing the light to the people. This time, however, he appears in the form
of a baby without candles. Smeets and Tynagel now leave no doubt regarding
the true nature of this creature. The Candle Man, adorned with devil's
horns, is, thank God, firmly ensconced or mummified and lies safely riveted
to a bullet.
To the visitor this installation seems to be a cacophonic world full of
contradictions. It is a collection in which clues to several style periods,
personal symbolism, various story motifs and a mixture of autonomous and
functional objects tumble, thereby making it difficult to hide the
broken-down decorum of times gone by, including our own era.
Decadence, suffocation and decay rule the atmosphere, impregnating the air
with a nearing threat.
What will happen when the Candle Baby has grown up? Who shall take up arms
and who shall succeed at pulling the sword out of the rock? Who will be the
new "Arthur" confronting injustice? And is the castle a safe haven? But,
above all, who is or what constitutes this doom? These questions relate to
fundamental feelings regarding fear, hope, malaise and (illusive) happiness.
The elemental and stylistic confusion appears to be indicative of Studio
Job's personal malaise and universal moral confusion about this interval of
time in which the difference between good and evil becomes increasingly
muddled.
The irony lies in the soothing remedy as prescribed by Smeets and Tynagel
for the discomfort they invoked.
The public can "combat" said discomfort by arming itself with a number of
conflicting symbols such as bronze rings, dead birds, arrows and daggers.
These symbols hail from the treasure-chest to which only artists possess the
key.
It remains to be seen that the observer is served by these symbols, as
amulets do not necessarily drive away misfortune.
Smeets and Tynagel prove themselves to be astute directors as they turn
their observers into participants, enveloping them in their story line by
means of a cleverly construed and deliberate confusion while being inspired
by the fields of art, design and fashion. Moreover, these artists turn their
public into subjects of the "mechanism of consumption" making this piece of
art an example of one of the most characteristic features of our time: the
habit of striving after immaterial values by collecting material objects.
Design victims Smeets and Tynagel leave their public fearful and confused
with only their new must-have accessories to cling to in order to ward off
danger. Smeets and Tynagel do not inform us of the outcome of that story; we
will have to wait until the next season."
London, January 2003, Sue-an van der Zijpp,
curator contemporary art Groninger Museum, The Netherlands

SALONE DEL MOBILE 2003
FOR DILMOS EDITION :

"S  P  A  C  E  P  O  P”

The Dreamroom concept by the Studio Rotella
Creating the environment of a contemporary home means addressing the radical mutations in space and the changes that have taken place in the traditional functions assigned to different settings.
An intimate relationship is established with modern objects on a day-to-day basis, with the result that these same objects are called on to perform at incresinely high levels of quality while showing an elevated capacity to adjust to the personal demands of the user.
The Spacepop habitation concept is based on the idea of developing, within a domestic spatial configuration, an area capable of transforming its categorical framework from bedroom to playroom, with a structural identity that is able to move back and forth between the realm of dreams and the dynamics of play.
The modular, component-based characteristics of the original element-session, the mathematics of the forms and the mechanical aptitude of the component-bed can be traced to the functionalist design experiments of the 50ís and the 60ís.
In those years, the forecasts of an aesthetic approach geared towards the future represented proposals that arose, at first, from the imagination that created science fiction, and later from experimentation in the field of aerospace.
Today, the capacity of interior designs to transform themselves and to be broken down into components gives the decorative objects an added value:  one that is often made necessary by the demands of limited space.  In Spacepop the use of materials with marked tactile qualities, as well as the contrast between soft and rigid surfaces, between curved and linear forms, contribute to establishing an atmosphere that transports the visitor towards a mental activity of leisure and stasis, of relaxation and activities of play.
The setting moves beyond the conventional boundaries of a bedroom, heading in the direction of modern demands while expressing itself with a delicacy of forms and materials that emanates security and positive energy.
The project is a strong one, at a time when, within our domestic setting, we are looking for positive, reassuring sensations
Project   Fabio Rotella
Concept e design     Giordano Cazzola
Graphic consulting   Alessio Mauro
Rendering         Tomohiko Ito

“LIGHTING MEN”
OUTSIDE EXHIBITION BY CATELLANI & SMITHFOR DILMOS EDITION :

NEW FURNITURES DESIGNED BY
- “PAD BOWL” BY KATA MATOGA
Polyvalent container.
Bowl or sitting soft object against to the domestic fall and crash.
Material : steel,foam rubber, PVC,EVA,DYNEEMA.
Measure: diam 100 h 40
- ”MARGO’” BY DANIELE PAPULI
A lamellar structure in white and black, made as a corolla of flower.
A cylindrical base, in the centre, a coloured pouf, for sitting.
Strips of plastic, in polipropilene, industrial material used for to wrap-up and to pack, form the lamellar structure of this piece.
The stripe are around a big tin thath has a coloured pouf, made for to sit on.
- “APPARITA” BY ANDREA SALVETTI
Died armchair in stove enameled fiberglass
- SUPRA DESIGN
Modern lines, innovative materials and colour are the elements that supra design mixes to create its objects for an always view interpretation of its own style.
”carlo light”
Anthracite-coloured cube that seens to contain hardly a big soft material block, transparent silicone, that comes out of the holes in the shape of semispheres, as to make the seat comfortable and luminous.
”suspance”
Four little cables hooked up to a steel external structure keep suspended the lacquered wooden "container" communicating lightness.
”hole”
Lacquered chair with box structure where empty and full counter in a play of symmetries

at DILMOS
open : 2003, APRIL 10 -14, 10 AM - 9 PM
OPENING :  COCKTAIL, WEDNESDAY APRIL 9, 6 PM
location : dilmos, piazza san marco 1, milano

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