Therefore, we proposed to Adrien Vescovi to create a series of seats inspired by those of West. In the 1980s, Franz West acquired an identity as an activist fighting for the emancipation of furniture. It built upon an earlier project I had done with Emilie Pischedda where we made seats also inspired by West.Įmilie and I both had a great admiration for Franz West’s furniture and in particular, the Elemental Design series that the artist developed in the 1990s. Some work was commissioned and some already existed and then I recognized a tribute within it and wanted to highlight that.Ĭan you tell us about more about this process?Īn example of a work that was commissioned for the exhibition is the upholstery for seating by the artist Adrien Vescovi which was his tribute to Franz West. In most cases, it was their recent creations that determined the tribute. Each case was a bit different from the next one. I wanted to work on this exhibition project with all the artists, designers and architects with whom I have been working for the past few years and whose I admire the work. How did you choose which designers to pay tribute to and which contemporary designers to pair them with? What is also beautiful about a tribute is that it allows people to catch a glimpse of the posture of the one who does it, and this is what I try to show through the furnitures and objects presented in the show. What interests me about a tribute is the inspirational source and how this source clashes with new works, creating intelligent and original acts. In my opinion a tribute is an act, making it different from a reference. The question of tributes has always interested me because it relates to the notion of reference.Īs someone trained as an architect, this question of reference often arises because it indicates a theoretical, aesthetically and intellectual environment in which we recognize ourselves in others, and feel good with. How did the concept for a tribute exhibition come about? Our environment thus reveals a way of perceiving space and making it living and livable, in a quest for sustainable beauty. I present works that are both useful and contemplative, whether furniture, lighting or everyday objects with a little extra soul, that we love to surround ourselves with. TLmag: Could you describe what you do at The Impermanent Collection?Įugénie Frémiot: The Impermanent Collection is a gallery that is dedicated to producing and presenting contemporary furniture, art and design objects. TLmag catches up with Eugénie Frémiot to talk tributes and exhibition making: To explore this topic in depth, Frémiot paired contemporary artists, designers and architects with historically important and influential creatives such as Le Corbusier, Franz West and Eva Hesse. In her practice, Frémiot has run into questions around tributes time and time again. Frémiot runs The Impermanent Collection – a gallery space that is located in the front window of the architectural office of Atelier van Wassenhove where she also practices as an architect. These are some of the questions that Eugénie Frémiot in the exhibition A Tribute To which is currently on show at Atelier Jespers, Brussels. But what does it mean to pay a tribute in the world of art, design and architecture? How does a tribute manifest in a physical object? What are the nuanced differences between a tribute, a reference and a homage? From the ancient Romans and Chinese who used tributary systems for political purposes to singers who perform covers of other artists who have influenced them, tributes come in many shapes and for many reasons. The act of paying a tribute is something that dates back thousands of years as a way of showing respect to another.
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