From May 3 to July 1 at Demisch Danant Gallery in New York will be set up Innovation: Made in France II, an exhibition of Mid-century French Design.
As the title suggests, this exhibition features important historical French design created between 1965 and 1975, known for being a period of rapid technological advancement that shaped a distinctive new aesthetic in French public and domestic life.
In particular, in France during the historical period that followed the Second World War – known as “Les trente Glorieuses” – the advancements fueled exuberant public optimism, and art, architecture, decorative arts, and fashion blossomed experimented prosperity and rapid urbanization. In these years the French government adopted policies to encourage innovative large-scale projects in the fields of transportation, information technology and telecommunications. Therefore, it is not surprising that some of the most iconic design initiatives of the 20th century – such as the Concorde, the Centre Georges Pompidou and the TGV (Train à Grande Vitesse) – were conceived in the 1960s and early 1970s.
Innovation at Demisch Danant presents works by Roger Tallon, Jean-Pierre Laporte, Jean Dudon, Roger Fatus, Bernard Govin, Olivier Mourgue, Pierre Paulin and Jean-Pierre Vitrac, with the main idea of celebrating the vision that shaped this creative boom, bringing critical attention to the impact of this revolutionary period in French historical design.
The figure of Roger Tallon is particularly important in interior design because he was able to perform original research into seating, lighting, and product design. Among his works, the cast aluminum M400 series (1964) and the Wimpy chair (1960) impressed art critics with their sleek ingenuity.
M400 Series (1964) – Tallon
Jean Dudon, Jean-Pierre Laporte, Bernard Govin, Olivier Mourgue, Christian Adams, Roger Fatus present works in plastic and synthetic resins, that create anthropomorphic forms inspired by the 1960s’ period of broader social liberation. Some works: Laporte’s Esox armchair (1972), Girolle (1969) armchair (in Plexiglas) by Dudon, Fatus’s furniture in the same and Bouloum chairs (1968), in fiberglass, by Mourgue.
Esox Armchair (1972) – Laporte
Bouloum Chair (1968) – Mourgue
Last but not least, the exhibition includes a section dedicated to lighting technologies, consisting of tube fluorescents and halogen bulbs, that were considered revolutionary during the 1960s-970s. Jean-Pierre Vitrac’s Strigam lamps (1983) and Sabine Charoy’s Lamp (1980) are two of the most representative works of this inspiring collection.
Strigam lamp (1983) – Vitrac
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