BAROCCABILLY February 8th - April 1st 2011
Meet the Baroccabilly, an existential rebel outsider who finds himself lost in Baudelaire’s ‘luxe-calme-volupté’. He looks for a shamanistic passion in the objects that surround him. His sparkly hazel eyes rarely miss a trick - that close-fitting Savile Row suit, Egyptian cotton shirt, Italian stiletto tie. And he’s no less particular about his surroundings. He’s always on the lookout for special objects to make his private world express his complex nature: a devil may care attitude mixed with an eye for sensuous detail. He looks for opulence in materials and simplicity of form. These pieces constitute a snapshot of his world. From sofa to lamp, chandelier to carpet, this collection furnishes a way of life, a home, a world.
Baroccabilly World: H50 W70 cm, pencil ink and oil pastel on paper.
Pompadour chair: H86 W112 D95 cm, timber frame, silk upholstery. Edition of 12
Castellieri: H60 W61 D54 cm, H50 W73 D60 cm, Swarovski crystal, fabric, leather and stainless steel. Edition of 6
Hypnerotosphere Saddle: H85 L100 D50 cm, fibreglass frame, stainless steel base, leather upholstery. Unique piece
In Baroccabilly world thereâ€™s a c of these objects has an animalist to be stroked, but just might bite attitude to design that invests them is an animated body. Whet behavioural means, each interpret and particular way. For instance split; its fleshy indent suggests p sitters, and for arms and knees carpet is more Warholesque with a physiognomy of its own. Then t lamp, all seeing and ever vigila Pompadour chair bring out the create a virtual skirt for even the might hide behind reflective sung their enlarged version, the Aviator a body. In its absence of a torso, t body, whereas the Hypnerotosph sexual energy. And presiding ove encapsulate flights of fantasy. Th the intimate forms of the furniture drifting suspended state, reinforce
concise sensibility at work. Each tic nature; they’re friendly enough e back. They reflect an existential the object with anima. Each of ther by formal, psychological or ts the human condition in a precise e the Aviator sofa has a bilateral progressive contact between two s to interlock. The Baroccabilly a vertebrae repetition generating there’s the many-headed Gianno ant. The voluptuous folds of the feminine side of everyone, and toughest men who sit on it. They glasses, and be disconcerted by r mirror. It turns the wall itself into the Wings table is all flight and no here saddle is a body packed with er all, the Castellieri chandeliers hese ‘castles in the air’ translate e into miniature cities that in their e the imagination as a survival tool.
Wings table: H46 W88 D94 cm, hand-carved beech, aluminium leaf. Edition of 12
Aviator sofa: H88 W210 D110 cm, timber frame, velvet and silk upholstery. Edition of 12
Al Bowley switches tracks with Iggy Pop who reinterprets a favourite by Lucio Battisti. The room reverberates, reflects, flashes his life before him, through objects, images, memories – and fantasies of what might happen, who he might be, today, tomorrow and some unknown day in an uncertain future. What does he look for in his surroundings? First protection, the assurance that he can curl up and hide, and set himself free within the confines of the cabinet as home. With a prospect on to the city rooftops, this home has an encyclopedic landscape of a life inside it. Layers, crowds, double lines of books and tiny figures, gods, animals and mementos compete for their master’s attention. Every corner and surface fuses with the many players who have appeared here, some who have loved and lived through many encounters folded into these shelves. Bookcases tell it all. Big art and photography volumes vie with philosophy, archaeology, and far off anthropologies. Etruscans, Greeks and Romans compete in pushing their way to the front. Warhol struggles with Bacon, and Ray Pertri’s Buffalo nudges at the history of the Silent Cinema. This ‘Des Esseintes’ cabinet of courage and curiosity mirrors and reflects the man in a myriad of ways. Without conventional façade or connection to the street, this house floats between ground and sky.
Baroccabilly carpet: W160 L260 cm, wool 100 knots per square inch. Edition of 12
Gianno light: H80 W60 cm, Opalflex速, Crystalflex速 and steel. Edition of 100
Aviator mirror: H75 W86 cm, silvered glass and stainless steel. Edition of 12
Nigel Coates: Born in 1949, and trained at University of Nottingham and the Architectural Association. He leads a parallel career in teaching, architecture and design practice and artistically driven, internationally recognised work. His subversive spirit first came to public attention in 1984 with the publication of NATO (Narrative Architecture Today) magazine. A manifesto for a socio-culturally engaged and popular narrative-driven architecture, it advised readers to be the architects of their own lives. Certain themes, in particular the notion of narrative (and its expression through the drawing), have continued in Coatesâ€™ designs and research ever since. Art and literary strategies find their way into many of his projects, a phenomenon that characterised much of his early built works, many of them shops and restaurants in Tokyo and London. Throughout his career, he has balanced his work as a practitioner with experiment. His polemical architectural shows include ArkAlbion at the Architectural Association (1984), Ecstacity also at the AA (1992), and Mixtacity at Tate Modern (2007). He has shown at the Venice Architecture Biennale in the British Pavilion (2000), in the Italian Pavilion with Baby:London (2006), and in the Arsenale with his installation Hypnerotosphere (2008). He has designed and built interiors, exhibitions and buildings around the world. Buildings in Japan include the Wall, Noahâ€™s Ark and the Art Silo, and in Britain, the National Centre for Popular Music, Powerhouse::uk and the Geffrye Museum. Coates is a prolific designer of lighting and furniture, with links to Alessi, AVMazzega, Ceramica Bardelli, Fornasetti, Frag, Fratelli Boffi, Poltronova, Slamp and Varaschin. He is based at his studio in London, is Professor of Architecture at the Royal College of Art, and for limited edition pieces is represented by the Cristina Grajales Gallery, New York. Examples of his work are held in museum collections including the Victoria & Albert Museum, Cooper Hewitt and FRAC. He has been Professor of Architecture at the Royal College of Art since 1995.
Publisher: Nigel Coates Studio Design: Andrea Mancuso, Ace Morgan Text: Ned Flex, Amber Jeavons 25 Thurloe Street, London SW7 2LQ www.nigelcoates.com email@example.com Curated: Cristina Grajales Gallery assistance: Elizabeth Murphy, Lindsay Johnson, Lizzie Bildner 10 Greene Street, 4th Floor, New York, NY 10013 www.cristinagrajalesinc.com firstname.lastname@example.org
Furniture production: Poltronova Editor: Roberta Meloni Project development: Elena Cavallucci Production: Rosella Corrieri, Renzo Spagnesi www.potronova.it email@example.com
Light production: Slamp Editor: Roberto Ziliani Project management: Luca Mazza Production: Stefano Papi
Second Edition 2011 1000 copies printed in Great Britain by Fresh Printing Limited All material in this publication is copyright, and may not be reproduced by any means, print, electronic or otherwise, without permission obtained in writing from the copyright holders.
ÂŠ Nigel Coates, Cristina Grajales Gallery, Poltronova, Slamp