Culture

 

Mattia Biagi: WHITE LIGHT/PITCH BLACK
March 4 – April 14, 2017

Opening Reception
Saturday, March 4, 2017. 6-8PM
RSVP: info@thenew.gallery

THE NEW 7466 Beverly Blvd, Los Angeles, CA 90036

Image: Mattia Biagi, White Light it Lighten Up My Eyes, 2017, 45”x 25”, Tar, brass, LED tube, electrical wiring. Photo by Daniele Albright.

 With a play on the Velvet Underground’s album White Light/White Heat, Mattia Biagi’s White Light/Pitch Black exhibition celebrates an art punk aesthetic of recontextualizing familiar objects and subverting longstanding symbols of culture and domestic life.

The dynamics of transformation is a driving concept and process behind Biagi’s work, in particular the transformative power of coating everyday objects with layers of viscous tar. In this context the decorative baroque chandelier, the ultimate symbol of domestic luxury, has its symbolic and cultural value subverted and transformed into an object of unexpected dark beauty, made all the more mysterious by the addition of a single minimal, modern light source penetrating it. The chandelier remains a light source, but not at all with the same meaning or purpose it once had. Its purpose has been undermined and yet somehow made more sublime through a mysterious rather than ostentatious beauty.

Alongside the chandeliers are a new series of round paintings. Here the transformative power of tar is explored on its own terms, as the singular materiality of painting. The black disks are reminiscent of vinyl records, an indirect reference to another type of domestic object. While on one level these minimal yet richly textured tar forms conjure dark themes like voids or black holes, they simultaneously invoke the opposite, their perfect geometric circularity referencing solid presence, totality and completion.

Mattia Biagi (b. 1974 Ravenna, Italy) lives and works in Los Angeles, CA. His work has been presented in solo exhibitions including Election Day at Le Dictateur in Milan (2013) and Fiori at Young Projects in Los Angeles (2014).
Group exhibitions include Storm of Life at Castello di Rivara in Turin, Italy in 2013; Un homme juste est quand même un homme mort at the Palais de Tokyo in Paris in 2013; and Erection at MAMA Gallery, Los Angeles in 2014. Biagi has recently collaborated with Johnny Walker for their Black Label bottle and his work is included in the permanent collections of the Mint Museum in Charlotte, North Carolina and the Louvre Museum in Dubai.

About THE NEW Gallery
Established in 2016, THE NEW presents an innovative exhibition program with an emphasis on works that cross disciplinary boundaries between art and design. The gallery was launched by Stefan Lawrence, founder of Twentieth, Los Angeles's premier contemporary design showroom. Located next door to Twentieth, THE NEW presents rotating exhibitions of unique and limited edition fine design as well as hosts cultural events related to art, design and architecture.
Gallery hours: Monday - Friday, 10am – 6pm; Saturday, noon - 5pm

MEDIA CONTACTS
Joshua Crampton media@twentieth.net

Stefan Lawrence stefan@twentieth.net

 

 

 

 

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Twentieth is excited to present the Anna Karlin collection to Los Angeles. Believing that all design disciplines contribute wonderfully to each other, Karlin feels that no one area should be ignored. Her studio practice and Anna Karlin Furniture and Fine Objects are the result of this sensibility.

Here are some of our favorite picks from the collection. For more information please email us at sales@twentieth.net

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COUNTER HEIGHT CHESS STOOLS

These hand made counter height stools work individually or as a group.
Made from cold rolled steel they are hand plated in a brushed brass finish.
Each piece is custom made so the size can be adjusted according to your needs. Previous commissions have included dining tables, end tables, a teak set for outdoor use and a wide variety of metallic finishes. Anna Karlin is also able to match any color.

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LUNA LAMP

A patinated brass half cylinder shell holds a hand molded rose alabaster acrylic sphere and cylinder. These rose alabaster shapes diffuse the light, giving off a warm glow. There are two standard sizes, small and large. Custom sizing is available.

LONG PLUMB LIGHT

Available in two sizes. The long plumb pendant has a smaller plumb and globe and the short plumb pendant has a larger plumb and globe.

Available in brushed brass and satin black (a rich warm black). Ceiling stem lengths are cut to your requirements.

CHESS ARM CHAIR

Stained white oak arm chair. Available in any wood stain or base wood as well as brass. All chairs can be custom made so please contact us with any inquiries.

ARC LIGHT

A beautifully tapered stem balances a perfect white glass orb with a brass plumb weight.

Available in brushed brass and satin black. Custom sizes can be accommodated. Please contact us for more details.


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Fernando Mastrangelo Studios has completed their latest installation for THAKOON, at 70 Wooster Street in New York City.
 
Fernando Mastrangelo at Thakoon entry
 
Mastrangelo, with the help of his studio hand-poured 2,000 sq.ft. of cement on site to create custom curved walls, the first of their kind.
 

The THAKOON project was commissioned by SHoP Architects and the technique was adapted from the layered pours inherent to Mastrangelo's furniture line, MMaterial.

 

FM/S' portion of the project took 9 weeks and 3,000 hours on site to complete.

Below is the complete Sight Unseen American Design Hot-List for 2016:
Ana Kraš
ASH NYC
Bari Ziperstein
Bianco Light & Space
Brendan Timmins
Charlap Hyman & Herrero
Christopher Stuart
Earnest Studio
Fernando Mastrangelo
Grain
Jason Miller
Kelly Behun
Ouli
Rafael de Cardenas / Architecture at Large
Samuel Amoia
Slash Objects
Studio Proba
Uhuru
Wintercheck Factory
Yield

 

 

Fernando Mastrangelo

New York,
Mastrangelo creates furniture under the name MMaterial and limited-edition, more fine art pieces under the name FM/s. Inspired by natural phenomena such as glaciers and rock strata, the two collections are united by a predilection for unusual materials such as dyed cement, salt, and sand.

What is American design to you, and what excites you about it?
I feel there is still a lot of uncharted territory in American design. That’s always an exciting place to work from because you’re not subjected to traditions or standards. We spend a lot of time in the studio just trying to push the craft and materials to new levels in hopes that it will expand the current ideas of how art, design and architectural objects can be made.

What are your plans and highlights for the upcoming year?
The studio is fired up for next year! In March 2017, we’re preparing for a collaborative solo project with Maison Gerard, and in April, FM/s will show new work with Rossana Orlandi during Salone del Mobile. In May, we’ll present entirely new collections for both MMATERIAL and FM/s at Collective Design Fair.

We’re also working on several private commissions that explore new casting techniques and more architectural type installations. One of these commissions is for a top secret residential project in California and we recently completed a large commission for the 1 Hotel here in Brooklyn, which includes a completely custom bar cast from black silica sand.

Late next year, I’m extremely excited about an FM/s collaboration with Edward Fields where I’ve been invited to create an collection of rugs. We’ll be showing the first one during design week next year.

What inspires or informs your work in general?
I can’t seem to get over exotic landscapes (Iceland, Patagonia, Mexico) that have natural, organic formations. Nature is the greatest sculptor of all. We try our best to translate the materials we cast with into forms inspired by nature, in an attempt to give the object its own gravitas. I feel jealous when I see a perfect stone formation created by water crashing into it, or by wind wearing slowly against its surface. I want to live with those moments, and that’s what I try to create in art and design.

 

Jason Miller

New York,
In addition to maintaining his own studio practice, Miller gets major credit for having founded the preeminent contemporary American lighting brand Roll & Hill, which not only produces his own elegant designs but also provides a much-needed manufacturing platform for up-and-coming American talents.

What is American design to you, and what excites you about it?
American design is often a balance of new and old. When the balance is tipped too far in one direction, it becomes either alien or retro, neither of which is good. What’s exciting right now is that there’s a ton of really great work being created that finds the right balance. It’s a great time to be working in the US.

What are your plans and highlights for the upcoming year?
Through my studio, the biggest project this year is a furniture collection that I’m developing for De La Espada. I’m also working on a rug collection for a French manufacturer. Both will debut during New York Design Week. Roll & Hill will be launching new products again this year at EuroLuce and then in the fall in New York.

What inspires/informs your work in general?
I’m increasingly interested in interiors. While I’m still a product designer, it’s hard for me to think of products outside of a specific interior context. Furniture and/or lighting is never experienced on a white background — it’s part of a room. I think more and more about how the things I make will affect the rooms they inhabit.

Bari Ziperstein

Los Angeles
In both her design and fine art practices, Ziperstein is constantly reinventing what a piece of ceramic art can, and ought, to be.

What is American design to you, and what excites you about it?
To me, American design is about a focused moxie to break rules in terms of scale, material choices, and stretching new outlets to sell or display one’s work. Having the ability to move between the fine art and design worlds (or the space between design, art, craft), where materials that are traditionally functional have a different use, value, and output. With a conceptual education at Cal Arts, rather than a traditional ceramics technical background – my investment in ceramics is less weighted in showing off technical tricks. Rather it’s about creating a new ceramic silhouette with unexpected processes that excites me.

What are your plans and highlights for the upcoming year?
I’m working on my next collection of large-scale pottery, with a continued investigation into terracotta, rope, and scale, and I’m participating in Rachel Comey’s ceramic event in both Los Angeles and New York City, opening December 5 through the new year. A few projects are still in the planning stages including several hotel and restaurant commissions.

This upcoming year I have a solo museum show at UCSB Museum of Art, Architecture, and Design. It will be my first solo show in more than four years, since distinguishing between my fine art practice and my editioned design works. “Fair Trade” consists of new work related to communist propaganda I researched while at the Wende Museum, a repository of Cold War artifacts. Using posters and ephemera as my starting point, I’m creating a dynamic installation that brings together a series of ceramic sculptures — vessels and decorative panels — that borrow from, and manipulate government-sanctioned images of women. These works form part of a faux trade show booth, which is based on specifications for Soviet Russian public information displays and industrial fairs. Complementing the installation are Soviet propaganda posters on special loan from the Wende that inspired portions of the project.

What inspires or informs your work in general?
The transformation of clay and testing its technical limits informs so much of my practice, from testing how to make a flat 28-inch ceramic slab to making a three-foot leather embossed image with equal pressure and consistency. With both practices, the experimentation of combining soft woven ropes with hard ceramic materials has been an ongoing point of inspiration — a collaging of sorts. I have an ongoing interest in Brutalist architecture, Soviet propaganda posters, and this primitive futurist style of terra cotta raw pottery. Artists like Imi Knoebel, Patti Smith, Marimekko, Robert Irwin, Moira Dryer, Marisol Escobar, Otto Lindig, Eva Hesse, and Superstudio are always sources of historic moxie.

The NEW Logo
Fernando Mastrangelo Drift
Fernando Mastrangelo in Interior Design
Fernando Mastrangelo's DRIFT collection
By Ryan Waddoups November 23, 2016

This year’s Collective Design saw Fernando Mastrangelo turn heads with his ethereal Drift Collection. Interior Design awarded him Best in Show at the inaugural NYCxDESIGN Awards before he hauled the collection cross-country to exhibit at the recently-opened THE NEW Gallery in Los Angeles. The self-proclaimed wanderlust finds inspiration while globe-trekking (a Patagonian glacier inspired Drift) or experimenting with cutting-edge materials in his Bushwick studio. Here, Mastrangelo clues us into projects on the horizon.

Interior Design: Where did you grow up, and how did it influence your work?
Fernando Mastrangelo: I grew up in Mexico, which has had a great impact on my work. I think of Mexican architecture the most—it is simplified, geometric, and uses unique materials.

 Fernando Mastrangelo Drift collection at THE NEW

 

ID: What are a few recent projects?
FM: We did our first major architectural installation for the Thakoon flagship store just in time for New York Fashion Week. We cast 1,700 square feet of cement walls using our furniture technique and created a series of displays. This summer, our studio also developed a custom wall sculpture for the Tao Group and Rockwell Group at Avra, a new restaurant uptown.
We’re about to launch with Holly Hunt and ABC Home, both of which are our very first large scale collaborations. I’m also excited about a line of carpets that we will launch next year with Edward Fields.


ID: Which projects are you most proud of and why?
FM: The work we’re doing in cast sand. We presented the Drift Collection at Collective Design Fair this year and it’s been my most inspiring work to date. Sand has become my new fascination. Right now, we’re experimenting with new techniques and methods of casting.

Fernando Mastrangelo MMaterial Collection

ID: Which person, place, or thing—inside the industry or out—inspires you?
FM: I’m inspired by nature mainly, but also by other industries, especially fashion, architecture, and interiors. Some of the artists I love are Nick Van Woert, David Altmejd, Matthew Barney, Anish Kapoor, and Richard Serra. In fashion I follow Marie Saint Pierre, Yohji Yamamoto, Rick Owens, and Label Under Construction. In furniture design, I love the work of Fredrikson Stallard.


ID: Latest design obsession?
FM: I’ve been closely following Joseph Dirand. I think his interiors will define this generation. The way he moves between the language of minimalism and classic French interiors is so subtle and complex, yet seems effortless.

Fernando Mastrangelo Drift Mirror


ID: Latest interiors pet peeve?
FM: The over-reliance on Scandinavian design. I love reduction in art and design, but it seems to me that Scandinavian influence has led to such minimalism that some craftsmanship feels lost. New processes and technology are closing doors to the handmade object, which I don't mind, but I’d like see a harmonious balance.


ID: An item you couldn’t live without?
FM: I sometimes wish I could keep some of the commissioned pieces I do for my personal collection. But I also love not having too many objects in my life.

Fernando Mastrangelo MMaterial Collection Side Tables

ID: Most admired historic interior or building?
FM: Luis Barragán’s home.


ID: Best part of working in Brooklyn?
FM: Brooklyn is turning so quickly, but for now, it remains the creative epicenter for art and design.


ID: How has social media impacted your career?
FM: Having direct contact with the audience has expanded the reach of the studio. This is exciting because it is breaks with traditional forms of visibility. Not relying on gallery giants and corporate-style sales is the future, and yet it’s still the wild west. Social media is the opportunity to define who you are and not have to abide by institutional standards.

Fernando Mastrangelo at the NEW in Los Angeles

 

Fernando Mastrangelo Drift Sofa

 

 

Fernando Mastrangelo at Stella McCartney Palo Alto store

Stella McCartney Palo Alto store. 

Fernando Mastrangelo at Stella McCartney Palo Alto store

 

MMaterial table

 Photography by Cary Whittier courtesy Fernando Mastrangelo.

New York based designer Lindsey Adelman talks about her work flow and how experimentation lead to exciting discoveries in this short video from Surface Magazine.

Adelman describes her process from conceptualizing unique designs to fabrication, saying, "I'm not really the type of designer who will draw something, draw it perfectly, put it in cad, and then have it made. I'm much more about wanting to see if there are any interesting surprises during the process of trying something." And she continues, "[Introducing a new concept] usually for me, that happens with experimenting."

Find Lindsey Adelman's designs on Twentieth here.

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The LAURENT Collection

Lambert et Fils will be launching their Laurent Collection this week at Biennale Interieur in Kortrijk, Belgium. This contemporary series of chandeliers and pendants is described as combining "the classic Bauhaus Milk Globe with a series of sculptural forms that carve through space, moving between line, surface and volume."  

Lambert et Fils LRT09
Lambert et Fils LRT09
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Lambert et Fils LRT01
Lambert et Fils LRT01

"Our research [for the Laurent Collection] focused on the surface and the form. Here, the globe acts as the link between the two,” says Samuel Lambert, the studio’s founder and lead designer.
The Biennale Interieur is the first exhibition in Europe for the design studio, which was founded in 2010.

Lambert et Fils LRT05
Lambert et Fils LRT03

Find the Laurent Collection on Lambert et Fils' designer page.

Laurent LRT01 hanging

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