Innovation: made in France II
Opening 3. May 2017 | pm
works by Roger Tallon, Jean-Pierre Laporte, Jean Dudon,
Bernard Govin, Oliver Mourgue, Pierre Paulin and Jean-Pierre Vitrac,
Exhibition: May 3 – July 1, 2017
30 West 12th Street, New York City

Innovation: made in France II

an exhibition of important historical French design created between 1965 to 1975, a period of rapid technological advancement that shaped a distinctive new aesthetic in French public and domestic life. Innovation is a continuation of the gallery’s year-long exhibition program made in France, which reintroduces designers from the post-war period and brings to light the importance of their work.

Innovation: made in France II will be on view through July 1, 2017.

In France, Les Trente Glorieuses, the three-decade period following the end of World War II, was marked by explosive scientific, technological, economic, and social development. These advances fueled exuberant public optimism in the 1960s, a time of national positivism that remained uninterrupted until the onset of the 1973 Oil Crisis. During this vibrant period, art, architecture, decorative arts, and fashion blossomed in step with the prevailing optimistic mood, buoyed by prosperity and rapid urbanization. As the industrial world turned its focus to all domains of creation, introducing new technologies and innovative materials, forms were liberated and experimentation abundant. The French government adopted policies to encourage innovative large-scale projects in the fields of aeronautics, transportation, information technology and telecommunications. As a result, some of the most iconic design initiatives of the 20th century were conceived in the 1960s and early 1970s, including the Concorde (the world’s first supersonic passenger jet airliner, which took its first flight in Spring 1969); the Centre Georges Pompidou (the first ‘hi-tech’ Parisian public building, with a radical design selected by an international jury in 1971); and the TGV (Train a Grande Vitesse, France’s first intercity high-speed train, developed in the 1970s). Meanwhile the tech-infatuated esprit du temps influenced French private life as well: Convenience, comfort, and novelty became priorities for a generation seeking to escape the rigidity of traditional French bourgeois life.

Through works by Roger Tallon, Jean-Pierre Laporte, Jean Dudon, Bernard Govin, Oliver Mourgue, Pierre Paulin and Jean-Pierre Vitrac, Innovation at Demisch Danant celebrates the vision and breakthroughs that shaped this creative boom, bringing critical attention to the impact of this revolutionary period in French historical design.

Innovation will explore the period through three lenses:

A New Industrial Aesthetic: Roger Tallon

Roger Tallon was a unique figure in French design. Trained in the industrial world rather than the decorative arts (Tallon was at one point a consultant to American appliance giant General Electric, for which he designed refrigerators and washing machines), he performed rigorous original research into seating, lighting, and product design. Tallon’s avant-garde investigations eventually branched out beyond the domestic realm and into public and industrial spaces, including the world of railway and air transportation—and furniture for those environments. A household name in France, the designer maintained close relation- ships with high profile artists, including Arman, César, and Yves Klein, who shared his passion for experimenting with new materials and technologies.

In addition to Tallon’s best known pieces—the cast aluminum M-400 series (1964) and the Wimpy chair (1960)— Innovation presents rare desk chairs developed for the brands Flambo (1960s) and Système Medius (late 1970s). Overlooked by design historians for decades, and relegated to invisibility until today, these works by Tallon impress with their sleek ingenuity.


Photo: Jean-Pierre Laporte, Girolle Chair, 1969

Plastic and the Liberation of Form
The introduction of plastic and synthetic resins in the 1960s allowed designers to abandon orthogonal rigidity and create anthropomorphic forms that corresponded with the period’s broader social liberation. Just as the domestic and public landscapes were in states of metamorphosis, poly- ester resin, Plexiglas, and polyurethane foam gave shape to spectacular new concepts and models. As Roland Barthes wrote in his well-known 1957 essay about plastic: “… it is less an object than the trace of a movement.” Innovationhighlights the technical and formal accomplishments that made plastic furniture possible.

Jean Dudon, Jean-Pierre Laporte, Bernard Govin, Olivier Mourgue, Christian Adams, Roger Fatus and others em-braced these new materials and processes in their work. Laporte’s Esox (1972) and Girolle (1969) armchairs, Dudon’s revolutionary seating in Plexiglas, Fatus’s furniture in the same, and the fiberglass gelcoat used in Mourgue’s Boulum chairs (1968), are all prime examples of the ingenuity of the period spot lit by the exhibition.

New Lighting Technologies

The emergence of new lighting technologies greatly in u- enced designers of the period, including Jean-Pierre Vitrac and Sabine Charoy. Speci cally, more sophisticated tube uorescents and the introduction of halogen bulbs sparked creativity in architectural lighting, including Vitrac’s Flu- ogam (1978) and Menichetti’s garden lamp Tumbo (1974). Often designed for public commissions, these works are an essential element in the image of architecture from this period.

About Demisch Danant

Demisch Danant was founded in 2005 by Suzanne Demisch and Stephane Danant. The gallery specializes in twentieth century French design with an emphasis on the late 1950s through the 1970s and represents the work of Maria Pergay, Pierre Paulin, Joseph-André Motte, Pierre Guariche, Michel Boyer, Philippon & Lecoq and René-Jean Caillette. Curated exhibitions on historical work are presented within environ-ments that reference architecture and interiors of the era.

The gallery also features exhibitions concerning the intersection of architecture, design and art, including the work of Sheila Hicks, Felice Varini, Krijn de Koning, and César.

Demisch Danant is dedicated to research and scholarship on French design and has published and authored mono-graphs including Antoine Philippon and Jacqueline Lecoq,Maria Pergay: Complete Works, 1957-2010, and Maria Pergay: Sketch Book. Current projects include a comprehensive monograph on seminal designer Joseph-André Motte and a new book about the architectural commission works of artist Sheila Hicks.


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