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In ogni stanza c’è il fantasmo del sesso, 1973
Sottass chose to disassociate himself entirely from the machinations of corporate industrial design by presenting a series of wistful black and white photographs showing makeshift design interventions embedded in desolate natural landscapes. Drawing on the emergence of the broader political discourse around anthropology and material culture, which appropriated the Other (the peasant, the indigenous maker, the amateur, the vernacular, and so on) as a foil against the alienation of a mass capitalist consumer society, Sottsass cast himself as a type of conceptual folklorist. Handwritten titles hurriedly scrawled above and below the images resemble field notations on objects happened upon in an otherwise unchartered landscape of meadows and mountains.
The Italian Avant-Garde Vol. 1 1968 - 1976
(In every room there is the ghost of sex)
Ettore Sottsass
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Nikos Economopoulos
Hadhramawt Valley. Women screening wheat. Yemen, 1992 -
Vulcano
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Robert Barry
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love balm
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Valerie Blass, My Life
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Montessori report card
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thomas talhelm
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Shannon Ebner
Untitled Blank No. 1, 2008 -
Poor Tools by Studio Fludd via Trend Tablet
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Between Senses by Anna Maria Maiolino
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An Afghan girl holds her sheep on the outskirts of Herat on April 10, 2012-Aref Karimi
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Comme des Garçons by Torbjørn Rødland
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Eduard Ludwig & Theodor Werner - Low cost housing development near Berlin, 1952
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Jan Dibbets, from Perspective Corrections
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Andy Goldsworthy - Stone Line, 1980
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Richard Long, Walking a circle in mist, Scotland (1986)
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socks-studio.com - Per Kirkeby
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Gianni Pettena, About Non-Conscious Architecture, 1972
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Ana Mendieta
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Margaret Howell S/S 2015
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until one of us can’t or won’t
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Max Lamb’s Prisms in action.
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Issey Miyake worn by singer/songwriter Akiko Yano. Photo by Eiichiro Sakata.
Scenes from our recent trip to Arizona: 1. A bench inside Frank Lloyd Wright’s Taliesin West in Scottsdale; 2. Bronze foundry at Arcosanti.
