The Chair Creators
They decided to create for life, for dignity, for liberty, they are The Creators
The concept Using the basic concept of "personalization", I will reproduce the only chair found at Simerom after the plant was close with as many collaborators as possible (artists, handicrafts, intellectuals) in 2200 copies. The chairs will be named Very Important Chairs, V.I.C. to evoke the resistance to industrial leveling- homogenization and lack of humanity. My first collaborators (Smaranda Almasan, Michael Stanescu, Laurent Tourette, Fabien Monestier, Mircea Suciu, Dan Perjovshi) began to turn VIC. Many will come in time due to the diversity and globalization!
It is interesting the story of this object that does not exist, which actually should not have been created and which owes its existence to the spirit of survival and adaptation of a tried and oppressed man, subject to enforced patience and whose attempt of expressing his humanity materializes itself in small gestures, almost imperceptible, but of maximum intensity.
Tension and forced acceptance play an important role in everyday life, in which the comforting certainty of concrete things fades by the day.
Handling the object in space somehow cancels its function, bringing it to the state of non-object, invisible or easily overlooked in a world where monitoring every gesture makes resting something exceptional, inaccessible.
The first V.I.C. « Roots » by Alexandru Noë Popovici The first V.I.C.s, <
The idea of this chair came after I read a book by Paul Arden, executive creative director at Saatchi & Saatchi, London. He said that meetings should not be or should be shorter to waste time. It’s a kind of chair that I designed for those who come to meeting the government or other institutions.
My staff and I made plates of natural hair whose shapes we fixed with hairspray and stiffened with a hair drier. The materiality of the plates is absolutely vibrant.After that I cut out geometric shapes, regular and otherwise, and I coated them in plastic. This procedure allowed me to immortalize the texture and the color of the hair. I then put together the plastic coated shapes on a metallic hanger in order to create the sculptures that represent the V.I.C.’s hair styles.
I explored three themes, Haute couture (evening hair styles), Punk and Gothic respectively. In my view the juxtaposition of these three styles on the same support/sculpture (V.I.C.) allows me to transmit the idea of accepting differences and much more.
Two "Buzesti-Berzei's Memorial“ V.I.C.s hold a small part of a house on Buzesti – Berzei Street (Bucharest, Romania) demolished in 2011.
A double wound affects the area. The first is urban (street widening to six lanes in total which will create an enclave- district, separated by the new "Highway").
The second one is moral and psychological, the old social layer is disrupted. People who lived all their life in a specific place are <<exiled>>, a loss of landmarks from all points of view that will affect their balance.I was lucky to meet these <<archeologists>> of the demolished Buzesti who were collecting objects belonging to the destroyed houses/blocks with the intention to preserve the memory of the place steeped in the found treasure.
They gave me a piece of kitchen tiles which has a place of honor on a V.I.C.
What are the themes explored by the V.I.C. project?
The themes are very personal, of course, sincere, delicate I would say, and play on the emotion stirred by some of the objects/parts of objects that I've gathered, received or inherited and which surround me every day. Every one of these has a certain story to tell, as well as the entire V.I.C. project. From my point of view, it is an individual intervention on a common object, which I have made in the form of the ready-made.
From an aesthetic point of view, what are your intentions, what feeling do you want to create through the materials/textures/colours you use on the stools? I wanted the intervention I made to raise a few questions. Why the fox tail, why the crocheted band? I hope the answer will come on its own for every person that comes into visual contact with the tabouret.
If the V.I.C. has a message, what is it? This kind of association between an object with a specific functionality and the accessories in which I have "wrapped" it, at the formal level tangentially and through a kind of ricochet belongs in the DADA area but also touches upon the story of the bear tricked by the fox.
Did you work on the tabouret as you would have worked on a human body? I worked more along the lines of La Fontaine, focusing on the fable component.
The five friends found this adventure via internet and did not lose time to sign in early enough so that with a little luck to be accepted, and then they mobilized themselves. They set up an NGO for their project and aware of the fact that in a crisis year the sponsors will be harder to be found, they tried to be creative in attracting them. On the team's official website and the Facebook page, the project supporters can purchase T-shirts and other Paramongols promotional materials, can "adopt" pieces of the ambulance, can participate in contests and last but not least they can find out when and where events are held.
Friends and artists such as Touluse Lautrec, The Monojacks, Ada Milea, Luiza Zan, Blue Niple Boy, Subcarpaţi, The Amsterdams or Caughy came to support the project, but help is still welcome from anyone in any supportive way. Log in on the team’s Facebook page and find out all the details. Support the first Romanian team in the biggest humanitarian rally in the world.
« Paramongol » V.I.C. is part of an expedition entirely conceived by the team that will travel on the distance of 16000 kilometers. The chair will be used as a travel journal, for during the expedition photos, sketches and recordings will be taken from various locations that will create the team’s itinerary. Full of the spirit of fighting for a better world, V.I.C. will be sold at auction and the money raised will be donated to the association.
Fabien Monestier : « Quand je sculpte je commence et puis finalement c’est totalement différents, les idées se greffes tout au long du processus. La ferronnerie se touche avec les yeux, mais aussi avec la main. Un puriste viendra toucher avec la main pour sentir le martelage, la texture, cela procure une sensation plaisante. »
Exceeding materiality and material conditions, I started to play shaping the forms respecting the logic of the living, intending to give each of my work its own life. Details and textures are taken from the living and real world in order to create a non anthropomorphical compositional whole. The same thing happened with V.I.C. because it was great possibility and opportunity for the intention to provide aesthetic qualities to objects and shapes which would offer the public an unexplained existence due to the illusion of living that I create. By this works that I have in mind to exhibit to the audience I am trying to flame visceral reactions, and to put into the game a purely sympathetic and powerful relationship between the viewer and this object. The images are able to serve as practical reference points impossible to ignore in the solid esthetic suggestion that I bring to sight.
V.I.C. "Tirelire", Red Cross, aims to raise funds to help people suffering after natural disasters or armed conflicts.
The desire is to be located in the stores of the most important museums of contemporary art and design all over the world.