New India Designscape December 14, 2012 – February 24, 2013 Triennale Design Museum Triennale Design Museum continues the cycle about new international design in the MINI&Triennale CreativeSet area with a new selection of the most interesting works by contemporary Indian designers, curated by Simona Romano, in collaboration with Avnish Mehta. New India Designscape describes the complexity of a context, of a landscape laden with interrelations and relentless questions on the project, rather than the immobility of national identities and self-centered figures, as was the case with past generation masters. The selected young designers are permeated by Indian culture, but at the same time they are strongly contaminated by other contexts, mostly the Western ones. With their projects the designers offer a delicate and sublime balance between innovation and tradition. Mythical contests are often presented, with a certain amount of irony, in common-use objects (e.g. Sandip Paul’s Mr Prick, Sahil and Sartak’s Lotus pieces, Divya Thakur’s Cheerharan Toilet Paper, or Cut.ok.Paste by Mira Malhotra, and again Hanuman Tshirt by Lokesh Karekar, Manish Arora’s clothes, and Kangan Arora’s Varanasi Cows) to prove that old and contemporary, sacred and profane blend into something that may not be readily deciphered (by not Indians), and bring deep contents into daily life. In our global era, the effect, needless to say, is almost therapeutic. Other objects start from the local material culture (a tough challenge, since common traditional Indian objects tend to have a hardly surpassed content in terms of modernity, function and aesthetics), they re-think it through innovation of some typologies (e.g. Paul’s Disposable Mug) or use common semi-finished products to create others (Sahil and Sartak’s Choori Lamp, Hanif Kureshi’s letterings, Shilpa Chevan’s jewelry). The displayed objects also feature suggestions of a less exposed to the media India, which looks at different social statuses with a matter-of-factly attitude that is never passive and takes shape more or less consciously, in other almost surreal objects such as Gunjan Gupta’s Bori Cycle Throne; in this comparative effort it was quite inevitable to bring back the post-colonial relation between India and Great Britain to the surface (Geetika Alok’s Englishes lettering). The practical life in the thousands of villages scattered over rural India is the inspiration to the so-called barefoot design where a pedal-operated washing machine (Reyma Josè) and a bamboo structure to load and carry weights on