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)