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In questa pagina dall’alto: “Bidondolo”, panca; “Molly”, lampada a saliscendi. On this page and from the top: “Bidondolo”, bench; “Molly”, up and down lamp.

I pezzi finiti rompono il nostro equilibrio, le nuove tipologie (“Bidondolo”) e la descrizione dell’oggetto (“la panca per gente stanca su cui la capra campa e il viandante si accampa”) sono elementi che dimostrano la possibilità di operare nel progetto superando e contraddicendo le nostre certezze. Creazioni che mantengono la memoria di alcune parti perchè non esiste una ragione economica, nè etica, nè sociale per distruggere qualcosa che viene considerato obsoleto.

Giusto Bonanno

The work of a Sicilian designer: objects that re-propose new functions through a creative process which maintains industrial values alongside craftwork expressions. To interpret Giusto Bonanno’s design work with care, in relation to his objects made from a process of recycling, we must make reference to different historical examples. Everyone knows that the ability to re-interpret a useful object, re-inventing it with new shapes and meanings is an aesthetic activity, which dates back to the distant Dadaist work of Duchamp. But perhaps the historical reference most appropriate as a starting point for the work of Bonanno is that of the work that Charlets Jencks and Nathan Silver presented

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in their book “Adhocism” in 1972. “Adhocism is: using a brush to clean the typewriter, using a knife as a screwdriver, a screwdriver as a chisel, a chisel as a dagger. Adhocism is: to misuse everything, or take advantage of the fact that each object can be used in different ways. Adhocism is considered eccentric, transient, it uses things through the clichés and subsystems of the past while others use the clichés in a pre-ordained manner

and are therefore boring.” The civilized human being elevated by the theories of Adhocism is an archaeologist, just like Bonanno who, for years, has produced work made of recycled goods and re-invention. Objects which re-propose new functions in a creative process which maintains industrial values alongside artisan manipulation. But to this creative process of Bonanno (we think of all his work produced with the use of the “industrial dustbin”), we need to add a rather rare component within the world of design: irony. And Bonanno with his work, seems to want to make us smile: in fact to be able to smile about something or someone has always been a healthy thing in any area. And so, through these objects, Bonanno invites us to look at the development of this new artistic sector with more humour, and seems to want to communicate his ambiguous involvement in the profession. Profession or better still professionalism, which in any case emerges and expresses itself in the way he presents his designs: through perfect computer designs and technically perfect prototypes. The finished pieces upset our balance, the new types (“Bidondolo”) and the description of the object (“the bench for tired people upon which the goat lives and the passer-by rests”) are elements which show the possibility of operating in the design overcoming and contradicting our certainties.

Profile for Fondazione Cologni dei Mestieri d'Arte

Artigianato 58  

Italian Magazine about crafts

Artigianato 58  

Italian Magazine about crafts

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