Icon Design Take Over
Camp Design Gallery's Beatrice Bianco in conversation with Adam Nathaniel Furman on Icon Design IGTV
Movimento - Let's talk about it
Camp Design Gallery hosts a conversation between Movimento's curators, La Cube and Salvatore Peluso with Gala Fernandez and Cristina Morozzi.
Three Characters in the second act presented at Design Miami Basel 2019
Camp Design Gallery continues its collaboration with Adam Nathaniel Furman, showcasing Three Characters in the Second Act: The Royal Family, a project realized with the historic Italian company Abet Laminati. The project focuses on contemporary collectible design through three specially commissioned pieces, each of which generates its forceful presence through the deployment of intricately patterned surfaces and intriguing architectures. Three Characters In the Second Act is a vision of the home as a court of domestic deviance played out through the ecstatic surfaces of a bourgeois nightmare.
“Three Characters In the Second Act is a vision of the home as a court of domestic deviance played out through the ecstatic surfaces of a bourgeois’ nightmare. A model 21st Century family of two parents and an insanely spoiled child, the father is the mother, the mother is the father, both the mother and the father are the father and the mother, while the infanta is also the infante but is free to be neither, or both, or something in between. Gioioso, Benevolente, & Solidale have no official status, but they are pure royalty in their total rejection of the suffocatingly facile codes of good taste, and they honour their freedom and divinely ordained power in the salacious union of sacred and profane, colour & form, wilfulness and gluttony, the digital and the crafted, the new and the old, and the bad and the naughty, refulgent in patterns of a new kind of regal family’s aesthetic liberty”. Adam Nathaniel Furman
Residual Time Energy Blowout - David Lindberg - making of
Camp Design Gallery presents a solo show by David Lindberg, a collection commissioned by the gallery on the occasion of Design Miami/ 2017.
In Residual Time Energy Blowout, imagination and engineering are melted in a unique inquiry: a continual variation focused on light, color, and transparency with formless, glowing shades. Light plays a key role in these works—here we find the electrical element itself.
The electromorphism is tangible and the resin, with its fluid consistency and its irregular course, faithfully expresses the wave transmission characteristic of electric energy. A series of grids of LED bulbs are attenuated by the colored layer of resin, which the artist imposes on it as a filter.
“Residual time energy blowout explores the boundaries / challenges of a post printed circuit board world of lighting objects. Where society accepted the existence of pcb’s (post circuit board’s) just for the convenience of mass production, we feel an obligation to rid ourselves of this carrier. The circuit itself becomes the structural fabric, as light and transparency embrace each other, opposed to the entities that are here to absorb that energy, as living beings.
For the construction, we are not doing anything with cnc fabrication, instead the structures are hand-made, and develop with immediate intuitively . For electricity control, we are experimenting with micro-controlers, but mostly we use low voltage Direct Current (DC), which we often control Pulse Width Modulation to control the electricity, as well as potentiometers for viewer interactive control of the works.” David Lindberg
Four characters in the first act - Adam Nathaniel Furman
On the occasion of Fuorisalone 2017, Camp Design Gallery launches Adam Nathaniel Furman’s solo show “Four characters in the first act”, curated by Marco Sammicheli. The project focuses on contemporary collectible design through four specially commissioned one-off pieces, each of which generates its forceful presence through the deployment of intricately patterned surfaces, and intriguing architectures. The project has been realized in collaboration with Abet Laminati.
“Each piece has an ornamental motif that was developed through the story of each specific character. Journeys that evolved from starting points immersed in the forms of traditional ornament, and which through a set of formal manoeuvres and hybridisation, created something new and compound, always with simultaneous hints of Italy and of distant lands: intimations of cultural exchange and impurity, in the best sense of the word.”
- Adam Nathaniel Furman -
“The collection that Adam Nathaniel Furman has created for Camp Design Gallery is a postmodern cultural essay explored at the scale of furniture. Shapes and decorations are not quotations, but compositional structures that visually narrate imaginary journeys rooted in the history of architecture. The graphics, developed specially for each piece by the British designer, are a surprising synthesis of the variety of references in the project, and embody its originality.”
- Marco Sammicheli -
Korzenie - Paolo Spalluto
Korzenie is the first solo exhibition of Paolo Spalluto at Camp Design Gallery. Korzenie, Polish word meaning roots, synthesizes the artist's research represented here by his unique design works - vases, chairs, plates. Each piece retraces, in its aesthetics and form, the intent of Paolo of deepening the concept of chthonic "bond" of the clay with the subsoil through an osmotic point of view; roots, in fact, are the part of fibers in contact with the humus.
Where the rain stops - Analogia Project with Fabscarte - Fuorisalone 2015
The Pantheon, known since the second century A.D., has been studied and shown in all ages. The projection of the inner dome appears on a screen: finely decorated on a black surface , the lines demarcating the geometries, become subtle signs of gold and the hole of the Pantheon rips the panels of the screen.
The project is a collaborative effort between Analogia Project and Fabscarte master decorators who created and then hand-drawn paper and the projection of the dome on the panels of the screen - with the ancient technique of dusting used in the Renaissance for the frescoes.
A prospective game deforms the projection of one of the panels, and invites the viewer to look for a point of view from which the circle back to being that, entering into a dynamic relationship with this work.
The result is a drawing deep and valuable, delimited by a brass wire that separates the world of representation from the real one.