FOREST DEFENDER BY ANDERSON AND LOW

Untitled-Forest-Defender-Anderson-Low-tt-width-836-height-550-fill-1-bgcolor-000000

 

Jonathan Anderson and Edwin Low’s Manga Dreams project, exhibited as part of the Maison Européenne de la Photographie, may surprise many people. This is for at least two reasons. On the one hand, it is true that the universe of manga has something confusing in this space which, generally, is more used to presenting photographic works. On the other hand, even if the experienced manga enthusiast were to venture into this high place of contemporary creation, his expectations might not be met.

Indeed, the exhibition seems to offer only a narrow perception of what is usually associated with Japanese culture. Here, the manga is meant to be uncertain, as if it served a purpose other than his own. It is not an exhibition on manga, with the aim of acquiring artistic legitimacy, but an art exhibition whose lexical tool is based on the universe of manga. This approach does not fail to give the whole thing a rather enigmatic, even ambiguous character.

In fact, we can see that, in general, the interplay of ambiguities remains an essential component of Japanese visual culture, mixing the genders that are a priori opposed such as violence and romanticism, tradition and modernity, adulthood and eternal childhood, masculine and feminine. Anderson & Low play on these confusions from the digital tool, which makes it possible to question the boundaries between the real and the imaginary, but above all to use the “style” of manga to inscribe itself between art and non-art. Indeed, the viewer is entitled to question the real artistic relevance of what is presented, these Japanese ephebes with katanas on a setting sun background, or these portraits of teenagers in a “cosplay” look and whose references are both video games and cartoons, may suggest that we are more faced with an illustration work.

However, a more attentive eye leaves doubt, something is happening in these bodies and faces. At first glance, we can highlight the interplay of looks that sometimes seem to challenge the spectator. The attitude is heroic, sometimes warlike, at least proud. If identities are assumed to the point of staring at the public, it can be seen that these features describe a feature common to most heroes from popular imagery, whether they come from American comics, the Hollywood machine or the Olympic Games. Does the “aesthetics of the piercing gaze” reflect contemporary popular culture? Let us remember that Anderson & Low have pursued an intense photographic research through the representation of athletes and champions, often posing in the simplest camera. Identity and the body unite in their iconographic imagination to show beings who, to the extreme, explore what a body can do, and what it means to be oneself. There may be something heroic about asserting yourself as yourself, to the point of forgetting all fears and complexes. From there, the Manga Dreams exhibition acquires a completely different resonance, because like these sports heroes who explore and assume themselves, it intends to go beyond the simple game of appearances.

 

Details

Model : Forest Defender

Designer : ANDERSON & LOW

Period : 2011

Dimension : 155 x 152 cm

 

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ARROW BY POL QUADENS

 

An atypical and creative designer, coupled with a virtuoso draughtsman, it is not surprising that Pol Quadens’ work flirts with sculpture. The line is the unifying element of her whole approach; it is it that nourishes the notions of asymmetry and balance that are dear to her.

As always with him, what appear to be free and spontaneous forms are the result of many controlled constraints and experiences pushed to their limits. Thus, by evoking his series of sculptures “Vertigo”, he can allow himself this definitive formula: “to make sculpture as if man had never put his hand on it”.

Having an extensive knowledge of the various materials he works with and a personal mastery of manufacturing techniques, Pol Quadens takes pleasure in challenging materials and techniques to extract their quintessence, at the limit of their breaking point.

 

Details

Model : ARROW

Designer : POL QUADENS

Editor : POL QUADENS

Period : 2015

Origin : BELGIUM

Material : STAINLESS STEEL

Dimension : 40 x 200 x 40 cm

 

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ARCHITECTURAL COFFEE TABLE BY WILLY BALLEZ

 

This sculptural table is a skilful example of postmodern design by the Belgian designer Willy Ballez. The glass and marble table is architectural in its design is it is built up of horizontal and vertical marble slabes which can be compared to building blocks. The rectangular table top is executed in glass. As a result, the sculptural, building block marble base is clearly visible. The pattern of the marble combined with the various slabs result in a sculptural and architectural piece.

 

Details

Model : ARCHITECTURAL COFFEE TABLE

Designer : WILLY BALLEZ

Period : 1970’s

Origin : BELGIUM

Dimension : H 36 cm x W 120 cm x D 70 cm

 

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ATOLLO BY VICO MAGISTRETTI

ATOLLO 2

 

The Atoll, for many years now, is no longer a lamp or rather is not just a lamp.
It is a myth, it is an icon: one of the most accepted symbols in the world of design, one of the very few products that everyone recognizes and calls by name. Designed by Vico Magistretti in 1977, in 1979 it won the Compasso d’Oro and since then has been part of the permanent collections of the major design museums, but it has also become part of the furnishings of many homes, inhabited by people who love and know how to choose the things that surround them.
The secret probably lies in the geometric construction of its forms: the cone on the cylinder and above all the hemisphere. A luminous sculpture to which nothing can be removed, nothing can be added. And that it is impossible to imitate.

 

 

Details

Model : ATOLLO

Designer : VICO MAGISTRETTI

Period : 1977

Origin : ITALY

Dimension : 70 X 50 cm  50 x 38 cm  35 x 25 cm

 

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TUBE CHANDELIER BY MICHAEL ANASTASSIADES

 

Cypriot-born, London-based designer Michael Anastassiades is one of the most captivating talents working in any visual field today. With his firmly held philosophy that great design should ignite cultural and intellectual discussion, Anastassiades work transcends traditional modern furniture, accessory, and environmental design.

You know a Michael Anastassiades piece when you see one. With a trained, perspicacious eye for art and creation, Anastassiades’ quietly seductive post-industrial jewelry, lighting, furniture, and tabletop objects illustrate the designer’s never ending fascination with stark lines, simple geometric composition, and utilitarian function. Michael Anastassiades lighting is well sought after.

After completing training as a civil engineer at the Imperial College of Science Technology and Medicine in London, Anastassiades completed a Masters Degree at the Royal College of Art in Industrial Design. During this time he began experimenting with many of the tenets that would define his later career: the use of reflective materials and the juxtaposition of the quotidian and the otherworldly. Anastassiades opened his London-based studio in 1994, going on to create his signature lighting collections, along with additional furniture and objects in conjunction with a small network of highly international, family owned and operated producers.

Michael Anastassiades virtuosic purview instantly registered with collectors and clients, drawn to request limited edition pieces. Michael Anastassiades lights include elemental shapes, such as cylinders, spheres, and tubes, that are often paired with elevated materials including mirrors, crystal and polished bronze, a material interplay that’s been widely imitated in the world of lighting and beyond. A collaboration with Studio Mumbai in 2006 led to partnerships with leading architectural designers David Chipperfield and John Pawson, and interior design companies like Studio Isle.

Collaborative and culturally-attuned by nature, Michael Anastassiades has a long track record of partnering with some of the zeitgeist’s most interesting names, including fashion designer Hussein Chalayan, Parisian boutique Colette and venerable glassmaker Lobmeyer. The designer has been recognized with numerous solo exhibitions: the Cyprus Presidency at the European Parliament; Geymüllerschlössel/MAK in Vienna; the Svenskt Tenn in Stockholm; and the Victoria and Albert Museum in London. His works also appear at the Museum of Modern Art in New York, the Victoria and Albert Museum, London, the Craft Council in London, the FRAC Centre in Orleans, France.

The Tube Chandelier, a triangular fixture with lights illuminating from each of its three sides, is a sleek addition to any residential or commercial space.

 

Details

Model : TUBE CHANDELIER

Designer : MICHAEL ANASTASSIADES

Period : 2006

Dimension : 100 X 32 CM

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COFFEE TABLE PK61 BY POUL KJAERHOLM

 

The coffee table PK61 is almost as elementary and minimalistic as it gets from the hand of Poul Kjærholm. Despite the extreme distillation of the structure into a set of identical elements, the square and aesthetic design has the power of a manifesto and shows Kjærholm’s development from industrial designer to furniture architect.

 

Details

Model : PK61

Designer : POUL KJAERHOLM

Period : 1956

Origin : Denmark

Material : Satinpolished stainless steel

Dimension : 80 x 80 cm  H32cm

 

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JE SUIS UNE OEUVRE D’ART BY LES DEUX GARÇONS

2 garçons je suis une oeuvre d'art

 

Les Deux Garçons is the collective name of Michel Vanderheijden van Tinteren and Roel Moonen, who met each other when they studied plastic design at the Academy of Visual Arts in Maastricht, the Netherlands. They’re well-known for their controversial taxidermy pieces: instead of giving the dead animals back their natural appearance they transform them into fantastic creatures. By transforming the natural into extraordinary, Les Deux Garçons bring new life, but also new meaning, to the animals and objects they choose to resurrect. Fascinated by the fleeting and random aspects of our existence, by the subjectivity behind the notions of good and evil, they confront the beholder with their odd, yet beautiful, endearing, yet shocking sculptures. Taxidermy is used as a potent medium to disturb, but mostly to discuss a variety of subjects: the contours of the line between good and bad, between life and death, between fantasy and reality…Creatin beautiful bizarre art pieces.

The often humorous and provoking pieces of Les Deux Garçons have been challenging people from all over the world to form an opinion. Just as with taxidermy there are many people who love their work, but also people who don’t. No matter what, seeing one or more of the fascinating works in person will be a memory you won’t easily forget…

 

*The animals used in Les Deux Garçons’ sculptures are never sacrificed on the hotel of their art. All animal components are recycled due to natural causes of death. They are then proposed to the artists.

 

Courtesy of LKFF gallery

 

 

Details

Model : JE SUIS UNE OEUVRE D’ART

Designer : LES DEUX GARÇONS

Origin : NETHERLANDS

Dimension : H27 cm x diam 18 cm under bell

 

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TA TA! BY LES DEUX GARÇONS

2 garçons Ta Ta!

 

Les Deux Garçons is the collective name of Michel Vanderheijden van Tinteren and Roel Moonen, who met each other when they studied plastic design at the Academy of Visual Arts in Maastricht, the Netherlands. They’re well-known for their controversial taxidermy pieces: instead of giving the dead animals back their natural appearance they transform them into fantastic creatures. By transforming the natural into extraordinary, Les Deux Garçons bring new life, but also new meaning, to the animals and objects they choose to resurrect. Fascinated by the fleeting and random aspects of our existence, by the subjectivity behind the notions of good and evil, they confront the beholder with their odd, yet beautiful, endearing, yet shocking sculptures. Taxidermy is used as a potent medium to disturb, but mostly to discuss a variety of subjects: the contours of the line between good and bad, between life and death, between fantasy and reality…Creatin beautiful bizarre art pieces.

The often humorous and provoking pieces of Les Deux Garçons have been challenging people from all over the world to form an opinion. Just as with taxidermy there are many people who love their work, but also people who don’t. No matter what, seeing one or more of the fascinating works in person will be a memory you won’t easily forget…

 

*The animals used in Les Deux Garçons’ sculptures are never sacrificed on the hotel of their art. All animal components are recycled due to natural causes of death. They are then proposed to the artists.

 

Courtesy of LKFF gallery

 

Details

Model : TA TA!

Designer : LES DEUX GARÇONS

Origin : NETHERLANDS

Dimension : H27 cm x diam 18 cm under bell

 

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EVASION BY ERIC-LUC MAQUET

 

At the beginning of his career as an artist, he worked on hot glass. There, he built himself through the contact of various Belgian, Dutch and Murano masters. The artist then, moves into a process where the desire to evolve artistically is omnipresent ; through the desire to develop a “new language”, he explores stone, steel and bronze. Attracted by the expression of movement, real or suggested, the fluidity and tension of his art pieces accentuate the sculpted movement as a symbol of the vitality of his creations.

Eric-Luc Maquet bring us in his dreams of evasion and freedom
An original idea that has been developing and refined over the past three years to create ambiguous and monumental works that we would like to meet more often in squares, public gardens and other cultural events.

 

Details

Designer : ERIC-LUC MAQUET

Origin : BELGIUM

Model : MÛ-35 and MÛ-47

Material : white bronze / blue & silver patina (MÛ-47)

bronze / brown & gold patina (MÛ-35)

Dimension : 61 x 36 x 14 cm (MÛ-47)

60 x 59 x 31 cm (MÛ-35)

 

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PRINCE BY VELASCO VITALI

 

For 10 years now Velasco has had a predilection for sculptures of dogs, molding and assembling them with a great variety of materials.The artist refrains from realistic description, he puts forward neither interpretations nor judgments and he follows no storyline; he limits himself to staging a fascinating and alienating visual creation, to encourage contemplation, generating new sense and meaning.

Vitali’s animals are almost always life-size, realistic although created in a very free way. Their positions convey a certain tension through voluntary deformations and at times almost pathetic or stupefied attitudes.
Each dog is different, has a clean soul and carries a strange feeling of plastic solitude, whatever his posture. This loneliness persists even as the artist gathers a complete pack in a confined space. You never see a dog running or in an aggressive attitude; these beings are resigned, stunned and disoriented.

 

Courtesy of LKFF gallery

 

Details

Model : PRINCE

Designer : VELASCO VITALI

Period : 2012

Dimension : 67 cm x 66 cm

 

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