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'An Insignificant Extension in Space and a Considerable Extension in Time (Proposal for a Museo Fend
'An Insignificant Extension in Space and a Considerable Extension in Time (Proposal for a Museo Fend
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'An Insignificant Extension in Space and a Considerable Extension in Time (Proposal for a Museo Fend
The work was designed as a template for a system of
scaffold and lighting that could expand or constrict to any sized space. The work
was principally on paper, adopting standard scaffold building patterns. The
execution of this design at it’s smallest would fit into a small shipping
container, at its largest it could fill an Airport hangar.The use of scaffold and the CAD designs meant
the materials would always be sourced locally, using local trades to follow the
instructions and inevitably the piece would be different each time. All installations
of the plans are added to the archive.Interview with Ambra Medda
Did you enjoy working with a fashion
brand?
Any work begins with a consideration of the environment: Physical,
historical and socio-political. These conditions form a framework for research
that leads to decisions on process and materials. Fashion
presents materiality as a thematic concern and it celebrates its ephemeral
nature. These were starting points to begin a discussion with Fendi and you as the
Curator of their Archive for this project. This was rich (enjoyable) territory
to play in.
How do you think the scaffolders
perceived their work on display within the context of an exhibition? The
installation you created was very successful, do you think their parameters of
success were different to those of Fendi or the other artists involved?
Parameters of success are built on bespoke shifting
sands. I aim for my work to be fluid in form, location and authorship. The
display of the making process is a key part of the final work, this is a component
that should be open to chance, collaboration and environmental conditions.The scaffolders and Fendi both have brand values and an attitude to
materials, aesthetics and business. I think they both enjoyed the process and
result, but what I made questions their values: A scaffold that is a geometric mess,
or a Fendi bag next to a cement spill on steel, so they should feel a little
uneasy – that’s a positive place to be for the maker, collaborator and visiting
viewer.
What was the most enjoyable part of
contributing to this show aside from the pizza on Via Sciesa?
The project involved putting a new group of people
together: Design Miami, The Spazio Fendi team, the scaffolders, myself and the
other Artists/Designers. This is a stressful highly rewarding place to be, we
are all hard at work – and part of our business is communicating. So ideas, intentions,
information, anecdotes and knowledge is exchanged, things learnt, friendships
forged. It’s a very human experience and the best perk of the job.Did you feel as though your work was an
organic result to what was happening in art and design?For me it's a logical and fits a line of enquiry. It’s Art utilizing Design. The
work is a framework, sometimes issued as a guide or a staged environment for actions
to unfold within. Photography, video, objects or actions can capture this. The
works are encouraged to move between authors and mediums with an undefined and
unattainable end. This uncertainty of form leads to a use of materials that are
ephemeral, unstable and themselves clearly susceptible to the process of time. It
raises questions for Design, but no answers are offered and that is a condition
of Art.How did you come to the idea of creating
this structure?There were several guiding principals to the process: The space has two characteristics
– physical and psychological. It is a long cuboid with a curved roof and the primary
use is as a catwalk space, your attention is drawn to a repetitive back and
forth of models in a very horizontal and prescribed pattern. So the aim
was to challenge the psychogeography. So the form began with a vertical assent
with a choice of options for your movement (like in a Museum )
Then there was these Fendi objects, coats worn by
Madonna and Gwyneth Paltrow, prototype bags, Museum objects that needed to be
displayed. But a Museum that would be inspired by the materiality and
ephemerality of Fendi and Fashion at large. A museum that could fit in a phone
booth or an airport hanger – yet be the same thing, new for each season, a
proposition of a Museum that packs away and exists only on paper. Scaffold is
perfect to convey this attitude as it is all about time: It’s a structure that
is always temporary, an exo-skeleton of something else, when scaffold is in use
it tells us that things are changing. Also the nature of its utilitarian system
and its functional aesthetic are inseparable, so it’s application could address
the physical and psychological attributes of the space and project context.
scaffold and lighting that could expand or constrict to any sized space. The work
was principally on paper, adopting standard scaffold building patterns. The
execution of this design at it’s smallest would fit into a small shipping
container, at its largest it could fill an Airport hangar.The use of scaffold and the CAD designs meant
the materials would always be sourced locally, using local trades to follow the
instructions and inevitably the piece would be different each time. All installations
of the plans are added to the archive.Interview with Ambra Medda
Did you enjoy working with a fashion
brand?
Any work begins with a consideration of the environment: Physical,
historical and socio-political. These conditions form a framework for research
that leads to decisions on process and materials. Fashion
presents materiality as a thematic concern and it celebrates its ephemeral
nature. These were starting points to begin a discussion with Fendi and you as the
Curator of their Archive for this project. This was rich (enjoyable) territory
to play in.
How do you think the scaffolders
perceived their work on display within the context of an exhibition? The
installation you created was very successful, do you think their parameters of
success were different to those of Fendi or the other artists involved?
Parameters of success are built on bespoke shifting
sands. I aim for my work to be fluid in form, location and authorship. The
display of the making process is a key part of the final work, this is a component
that should be open to chance, collaboration and environmental conditions.The scaffolders and Fendi both have brand values and an attitude to
materials, aesthetics and business. I think they both enjoyed the process and
result, but what I made questions their values: A scaffold that is a geometric mess,
or a Fendi bag next to a cement spill on steel, so they should feel a little
uneasy – that’s a positive place to be for the maker, collaborator and visiting
viewer.
What was the most enjoyable part of
contributing to this show aside from the pizza on Via Sciesa?
The project involved putting a new group of people
together: Design Miami, The Spazio Fendi team, the scaffolders, myself and the
other Artists/Designers. This is a stressful highly rewarding place to be, we
are all hard at work – and part of our business is communicating. So ideas, intentions,
information, anecdotes and knowledge is exchanged, things learnt, friendships
forged. It’s a very human experience and the best perk of the job.Did you feel as though your work was an
organic result to what was happening in art and design?For me it's a logical and fits a line of enquiry. It’s Art utilizing Design. The
work is a framework, sometimes issued as a guide or a staged environment for actions
to unfold within. Photography, video, objects or actions can capture this. The
works are encouraged to move between authors and mediums with an undefined and
unattainable end. This uncertainty of form leads to a use of materials that are
ephemeral, unstable and themselves clearly susceptible to the process of time. It
raises questions for Design, but no answers are offered and that is a condition
of Art.How did you come to the idea of creating
this structure?There were several guiding principals to the process: The space has two characteristics
– physical and psychological. It is a long cuboid with a curved roof and the primary
use is as a catwalk space, your attention is drawn to a repetitive back and
forth of models in a very horizontal and prescribed pattern. So the aim
was to challenge the psychogeography. So the form began with a vertical assent
with a choice of options for your movement (like in a Museum )
Then there was these Fendi objects, coats worn by
Madonna and Gwyneth Paltrow, prototype bags, Museum objects that needed to be
displayed. But a Museum that would be inspired by the materiality and
ephemerality of Fendi and Fashion at large. A museum that could fit in a phone
booth or an airport hanger – yet be the same thing, new for each season, a
proposition of a Museum that packs away and exists only on paper. Scaffold is
perfect to convey this attitude as it is all about time: It’s a structure that
is always temporary, an exo-skeleton of something else, when scaffold is in use
it tells us that things are changing. Also the nature of its utilitarian system
and its functional aesthetic are inseparable, so it’s application could address
the physical and psychological attributes of the space and project context.
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