Post 643
Tags: Ball, Chair, Novembre, Albus
Fabio Novembre, Him & Her, 2008
Volker Albus, Kick & Brush, 2004
Fabio Novembre, Him & Her, 2008 | Volker Albus, Kick & Brush, 2004
Volker Albus about Fabio Novembre from "Wicked! design on the edge of bad taste", Birkhauser, 2011 [...] "It does get embarrassing when these joke-objects start occupying more space and are seen every day, meaning that the joke is repeated over, and over, and over again. This is precisely the case with Fabio Novembre's "Her" chair. In 2008, the macho-wannabe designed a chair that resembled the famous "Panton Chair," but Novembre made the back of his chair take the form of the back of a kneeling, and, of course, naked woman. He omitted the head and arms because he would probably have wondered why anyone would ever need these body parts anyway, if you only want to make use of the fleshy pillow part of a submissive, yielding young lady

But all jokes aside, this concoction is just a failure, nothing is right: the lady, or better said, what is left of her, is not only overly slender but is also kneeling in a position that would never support her. Her body is little more than a relief or negative, in other words, merely has the function of satisfying some voyeuristic urge. Fabio Novembre is not the first to attempt to pay homage to the female by means of transformation. The history of art and design history is full of very successful examples. Dali' comes to mind, or Mollino, Pesce, or Newson. And regarding the aspect of sexism, "Hatstand, Table, Chair," Allen Jones's sculptural group from 1969, is an equally controversial forerunner. However there is a crucial difference between these dominatrices-cum-furniture objects and Fabio Novembre's chair figures. The ladies clad in short revealing aprons are deliberate symbols, which artist Jones used to reference, even if drastically, a very specific phenomenon of his times. Designer Novembre's object is really intended to have only one, and at that, defamatory, function, and nothing more. Actually mastering such fine differences between art and design should be the norm for a relatively successful protagonist of contemporary designo And you have to wonder what in the world got into Fabio Novembre to make him sink to the lowest level of machismo.'
Fabio Novembre about Volker Albus '...'
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