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Milan Design Week 2023 | Robert Stadler

2023年米蘭設計週 | Robert Stadler

Carwan Gallery | Via Zenale 3, 米蘭 | 2023年4月13日 – 4月23日

Carwan Gallery 於 2023 年米蘭設計週（Fuorisalone 2023）呈現備受期待的全新委託創作「OMG-GMO」，此展覽由 Nicolas Bellavance-Lecompte 策劃，展出常駐巴黎的設計師 Robert Stadler 的作品。該項目歷時兩年多籌備，是一系列充滿奇思妙想的陶瓷功能性物件，由義大利頂尖的家族經營陶瓷公司 BITOSSI Ceramiche 手工製作。該項目的預展曾於去年秋季在康乃狄克州新迦南菲利普·強生（Philip Johnson）標誌性的玻璃屋（Glass House）內舉行。OMG-GMO 系列作品僅可透過 Carwan Gallery 獨家購藏。本次展覽與 Association 5VIE 合作舉辦，並獲選為其米蘭設計週官方策展項目之一。

Known for his diverse work — which includes industrial design, installation, curation, and performance — Austrian-born designer Robert Stadler has been engaging with current issues in a critical and intellectual way throughout his decades-long career. For his special commission for Carwan Gallery, the designer offers a witty comment on the relationship between humans and their environment, as seen through the genetic manipulation of fruit and vegetables. Spotless yellow bananas, fleshy avocados, leeks, carrots, and many other staples of our shopping baskets are transformed into humorous functional objects, in what is perhaps the designer’s most playful work to date.

The history of representing fruitage and other produce in art and design is probably as long as the history of art itself. From ancient vessels shaped as their contents, to fanciful Arcimboldo paintings and Renaissance still lifes featuring cornucopias of food, the relationship between produce and aesthetics has been very strong and persists to this day. In dialogue with this tradition, Robert Stadler’s OMG-GMO highlights the artificiality of the tame fruit and vegetables we cultivate and consume, highlighting the fact that their current form is the result of a very long process of agricultural domestication, selective breeding, and bioengineering. Patiently “designed” over thousands of years, farming products such as tomatoes, bananas, aubergines, and many more have little resemblance to their wild, undomesticated relatives. In more recent years, this engineering has become even more extreme, incorporating genetic modification and sophisticated cultivation techniques that give fruit and vegetables of almost artificial perfection and symmetry — such as square watermelons, straight cucumbers, seedless oranges, calibrated cherries, white strawberries, and more.


For the OMG-GMO project, Robert Stadler borrows the forms of these engineered fruit and vegetables to create ten ceramic, hand-painted objects that ironically transform the organic into something structural and functional. Conceived as a series of small-scale monuments, these objects both criticise and mock human manipulation of nature: a slice of a Japanese rectangular seedless watermelon becomes a stool, zucchini bend in a perfect L shape to create a set of shelves, and wheel-like aubergines support a glass coffee table, as a reference to Gae Aulenti’s Tavolo con Ruote. Each object transforms a fruit or vegetable in a functional and clever way, with the master ceramicists at BITOSSI copying in detail their colour and texture.

After Milan, OMG-GMO will travel to Greece, for an exhibition at Carwan’s flagship space in Piraeus, during the summer of 2023.

精選設計師

檢視設計工具

羅伯特·斯塔德勒

法國巴黎

Robert Stadler 1966 年出生於奧地利維也納。他曾在米蘭歐洲設計學院（IED）和巴黎國立高等工業設計學院（ENSCI）學習設計。1992 年，他與他人共同創立了 Radi Designers 設計團隊，該團隊一直活躍至 2008 年。該團隊曾為 Galerie kreo 創作限量版作品，並為法國航空（Air France）或慕尼黑（Moulinex）等品牌承接大型工業設計項目。2001 年，Robert Stadler 在巴黎成立了自己的設計工作室。他為愛馬仕（Hermès）、Lobmeyr、Thonet 和 Vitra 等客戶工作，並為 Carpenters Workshop Gallery 創作了多件限量版作品。他的作品被維也納應用藝術/當代藝術博物館（MAK）、巴黎裝飾藝術博物館（Les Arts Décoratifs）、卡地亞當代藝術基金會（Fondation Cartier pour l’Art contemporain）、法國國家當代藝術基金（Fonds National d'Art Contemporain）以及維特拉設計博物館（Vitra Design Museum）永久收藏。Stadler 還策劃過多個展覽，其中包括在南錫 Poirel 畫廊和盧森堡現代藝術博物館（MUDAM）舉辦的「QUIZ」展。

2017 年，紐約野口勇博物館（Noguchi Museum）舉辦了他在美國的首個機構展覽，展出作品與野口勇（Isamu Noguchi）的作品進行了對話。同年，他在德國德勒斯登的 Lipsiusbau 藝術館展出了他首個回顧展。在 2018 年米蘭設計週期間，他為 La Pelota 策劃並設計了「Typecasting - An Assembly of Iconic, Forgotten and New Vitra Characters」展覽。Robert Stadler 涉足多個領域，用他自己的話說，他消除了「免稅店」提案與工業或公共委託項目之間的等級制度。他經常探索展覽語境，以質疑物體的身份。

莉莉安·貝當古「智慧之手」獎 (2012)

大型博物館展覽
卡地亞當代藝術基金會、法國國家當代藝術基金會 (FNAC)、北部-加來海峽大區當代藝術基金會 (FRAC Nord-Pas de Calais)



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