Carnival of the Monobloc – Covering, Manipulating and Masking of a Chair
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Cómo citar

Tobias. (2020). Carnival of the Monobloc – Covering, Manipulating and Masking of a Chair. Res Mobilis, 9(11), 32–45. https://doi.org/10.17811/rm.9.11.2020.32-45

Resumen

Examining the concepts and ideas we have of objects and common goods such as the Monobloc chairs, or of mayor and globalized cultural events like the Art Biennale, they reveal their cultural and economic impact, especially because of their artistic and often political statements. In doing so, they expose a bit more about our contemporary society, our cultural heritage and sometimes give us advise or evoke ideas for the future. Furthermore, thinking about the artistic coverage, manipulating and masking of the Monobloc, these observations can show us our own attitudes towards everyday objects and common goods as well as helping us discover modernity. Finally, we can experience the Art Biennale in Venice more deeply, behind its vast different ranges of changing characteristics and faces throughout modern history. 

https://doi.org/10.17811/rm.9.11.2020.32-45
PDF (English)

Citas

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di Martino, Enzo. The History of the Venice Biennale 1895-2005. Visual Arts, Architecture, Cinema, Dance, Music, Theater. Venice: Venezia Papiro Arte, 2005.

Eickhoff, Hajo, “Final Destination Plastic Chair. An Insight into the Culture of Sitting”. In: The Infamous Chair. 2200C Virus Monobloc, edited by Kerstin Finger, Andy Friedrichs, 6- 10. Berlin: Gestalten, 2010.

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Roeder, Tina, “White Billion Chairs (2002-2009)”. In: The Infamous Chair. 2200C Virus Monobloc, edited by Kerstin Finger, Andy Friedrichs, 42. Berlin: Gestalten, 2010.

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