Slott @ Grand Palais
art paris art fair 2013
In March 2013, Slott will show only new pieces, specially produced for the gallery at the occasion of ART PARIS ART FAIR in Grand Palais (March 28th – April, 1st 2013).
In March 2013, Slott will show only new pieces, specially produced for the gallery at the occasion of ART PARIS ART FAIR in Grand Palais (March 28th – April, 1st 2013).
december 3rd to 9th, 2012
opening hours: noon to 8pm
kids corner, temporary shops, music…
MAKE A WISH @ SlottLAB!
SlottLAB is happy to invite you to our week-long christmas market “MAKE A WISH”! Come discover our design objects, exceptional jewelry, books and monographs, designers’ clothes, ateliers for kids, live concerts & more surprises!
september 10th to 16th, 2012
SlottLAB the unmissable new spot in Paris for design-art is honored to invite you to discover its 300sqm space on rue de Turbigo. For this grand occasion will be shown the entire collection of Slott Gallery (including works by matali crasset, Arik Levy, Mathieu Lehanneur), as well as new exclusive pieces not to be missed! Happy hours, professional get-togethers, live performances.
Djs Sets Happy Hours :
Teki Latex / The Town aka Kazey & Karve / Mr Maqs
(schedule of live performances to be announced)
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as an extension of a project on the theme of love, slott and exquise design have invited four designers to play out their fantasies, giving shape and meaning, breathing life into their conceptions of preliminaries. they have approached this subject from different and complementary viewpoints that together offer a panorama of creation like no other seen before. arik levy unveils his work on the spoken and the unspoken of intimate relations with his series of installations entitled confessions, that includes, among other elements, an examination of the iconography of sexuality alongside a kind of modern home confessional. as the theme of the exhibition required that contributions be solicited from both male and female designers in equal measure, it is fascinating to observe the ways in which, by sharing their visions, they complete and engage each other. matali crasset and florence jaffrain carry us away to underwater paradises with their respective works aequorea and belly love, creating soft and sensual shapes that run up against mathieu lehanneur’s torrid yet petrified flames in his the power of love. |
visitors will also be struck by the singular visions of the four designers, each of which offers a completely different approach to objects. with his confession, Arik Levy makes the object a tool for communication, standing in for the fears and concerns we often find it so difficult to voice. straddling the boundaries of design and architecture, matali crasset approaches the object as a space. mathieu lehanneur, working from a more sculptural perspective, raises the object to the heights of allegory (of the couple), at the same time endowing it with a mediating role. last but not least, florence jaffrain tends to make the object an end in itself, by creating a sofa that might almost be perceived as playing the role of the lover, becoming an object of desire. (…) |
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love design is a project that explores the multifaceted relationship between design and positive feelings such as affection, desire, pleasure and romance, but also jealousy, distance, separation and pain. published by daab, love design the book presents a selection of unusual products, objects, graphics and textiles specifically designed to enhance (or distort) our pleasurable sense of togetherness in every possible (and impossible) way. during the Milan furniture fair 2009, love design the exhibition presents the works of 20 outstanding designers taken from the book. |
the selection includes new products and special editions, in categories like fine textile, sound wave jewelry, blushing lighting, erotic tableware, lover’s furniture and more surprising delights. this exhibition questioned the very meaning of the word ‘love’, the beginning and the ending of what binds us together and tears us apart. |
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“design is an uncontrolled muscle” according to arik levy (born 1963). designer, technician, artist, photographer, filmmaker, levy’s skills are multi-disciplinary and his work can be seen in prestigious galleries and museums worldwide. best known publicly for his furniture design for global companies, installations and limited editions, levy nevertheless feels “the world is about people, not tables and chairs.” hailing originally from israël and moving to europe in 1988, levy currently works in laris with his 20-strong team of designers and graphic artists forming L design. under the vision of levy and his associate, pippo lionni, the firm also produces brand identities, packaging, signage, exhibition and interior design… his formation was unconventional where surfing and his graphic design studio took up much of his time back home. |
however, following studies at the art center europe in switzerland where he gained a distinction in industrial design in 1991, levy’s first international success was winning the seiko epson inc. competition, which jettisoned him into the public consciousness as a “thinking” designer. after a stint in japan where levy consolidated his ideas producing products and pieces for exhibitions, the designer returned to europe where he contributed his artistry to another field –contemporary dance and opera by way of set design. the creation of his firm then meant a foray back to his first love, art and industrial design, as well as other branches of his talents. respected for his furniture and light designs on all continents, levy also creates hi-tech clothing lines and accessories for firms in the far east (…) |
in collaboration with françois brument
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the power of love consists of two separate sets of headphones connected to a fire, thus three elements symbolizing two lovers joined by their love. the object conveys formidable sculptural power… but it remains an object. its representative value serves its purpose. the power of love is a type of lovemaking accessory, a foreplay toy. each of the lovers puts on a set of headphones. in itself this is a token of eroticism for mathieu lehanneur’s generation, all of whom fondly remember the cult scene in the film la boum, where a young man seduces sophie marceau by having her listen to a sentimental ballad on his walkman while everyone else is dancing to a powerful up-tempo rock song. the same principle is used in the power of love: each of the listeners hears the tracks recorded as representing his or her intimate universe. hence the lovers are not in sync and this is very important, as desire is born of difference. it is the glistening fire that continually asserts its presence, imposes its heat and creates the union. |
the lovers see in it the perfection of their original love that they seek to rediscover and stoke. when two individuals fall in love, they create a new universe together without at the same time losing touch of their own, a sleight of hand whereby 1+1=3. love’s power is rooted in a crossing of boundaries, the creation of a new entity. mathieu represents it as a flame shooting up at the meeting point of two sound tracks that continue to exist separately. this flame calls to mind the burning bush in the bible, God revealing himself to moses. if this burning bush is a theophany, an appearance of God to man, what mathieu offers us may perhaps be termed an “erotophany”: this fire represents the emergence of love between the lovers. we are all fascinated by the very moment of the big bang creating the lovers’ universe: it is a moment of extreme intensity in which the potency of love is compressed before it explodes. (…) |
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matali crasset is by training an industrial designer, a graduate of the ateliers-e.n.s.c.i. (workshops – national higher school of industrial design). at the beginning of 2000, after her initial experience with denis santachiara italy and with philippe starck in france, she set up her own studio in paris called matali crasset productions in a renovated former printing firm in the heart of belleville. it is there, with the coming and going of children and neighbours that she dreams up her projects. she considers design to be research, working from an off-centred position allowing to both serve daily routines and trace future scenarios. |
with both a knowledgeable and naive view of the world, she questions the obviousness of codes so as to facilitate her breaking these bonds. like her symbolic work, focused on hospitality, quand jim monte à paris (“when jim goes up to paris”), is based on a mere visual and conscious perception which she invents another relation to the everyday space and objects. her proposals are never towards a simple improvement of what already exists but, without rushing things, to develop typologies structured around principles such as modularity, the principle of an interlacing network, etc… (…) |
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this object in two parts, a kind of modern home confessional, is one of the masterpieces shown at the slott gallery in january 2010 during the exhibition préliminaires. by borrowing one of the catholic church’s best communications tools, arik levy in no way aims to commit blasphemy. all religions were created to cement social relationships. confession is neither religious nor anti-religious. it must be considered simply as a social object. arik encourages us to play with social codes, delivering an entirely revisited confessional adapted to the modern home. |
he reworks the proportions to create an object with a seating area larger than the traditional version. derision, a feeling of being protected, humility –the effect of the piece changes depending on the circumstances. in addition, this confessional is perfectly modular, offering infinite possibilities for interaction by playing with the orientation and distance between the two parts. |