Vitra celebrates Ettore Sottsass’ legacy as a design rebel, poet, and photographer
Exhibitions documenting the life and work of Ettore Sottsass (1917–2007) abound this year as galleries and museums – such as The Met and Le Stanze del Vetro – celebrate what would have been the influential Austro-Italian designer’s 100th birthday. One of the latest surveys comes courtesy of furniture manufacturing megalith Vitra, which recently opened ‘Ettore Sottsass – Rebel and Poet’ at its Basel campus in Switzerland.
Located in the new Herzog & de Meuron-designed Schaudepot space, the exhibition sees the family-owned brand draw from its own archives to form a showcase of approximately 30 of Sottsass’ furniture designs, consumer products, as well as numerous photographs and writings. The exhibition, Vitra says, ‘pays tribute to an extraordinary designer who did not regard form and function as constraints, but rather viewed design as an opportunity to explore the nature of human existence’.
Supplemented by excerpts from Sottsass’ poetic and literary texts, as well as photographs from the ‘Metafore’ series (1972-1979), where Sottsass reveals his thoughts on fundamental design issues, the exhibition tracks the unconventional designer’s development, and demonstrates how he succeeded in challenging the established tastes of the middle class throughout his career.
His collaborations with furniture manufacturer Poltronova and office equipment manufacturer Olivetti resulted in bold, rule-breaking designs that demonstrate his early love of vivid colours and distinctive structures. His ‘Califfo’ sofa (1964) for Poltronova is among the exhibited works, as is his pillar box red ‘Valentine’ typewriter (1969) for Olivetti.
In the 1970s, Sottsass took on various roles: as a participant in the Museum of Modern Art’s exhibition ‘Italy: The New Domestic Landscape’ (1972); as a central figure of the design initiative Global Tools (1973-1975); and as a member of the design collective Alchimia (1976-1980), when he created the characterful ‘Seggiolina da Pranzo’ (1979-80) – one the 30 showcased pieces.
However, Sottsass is perhaps best remembered as the leading figure of the 1980s design collective Memphis, where he created some of his most distinctive work. Inspired by pop culture and liberated from a functionalist design approach, it was during this time that Sottsass created the ‘Carlton’ bookcase (1981), the lamps ‘Ashoka’ (1981) ‘Tahiti’ (1981), and the ‘Tartar’ table (1985).
Running until 24 September, Vitra’s exhibition serves as an insightful tribute to this 20th-century designer, rebel and poet, whose legacy continues to enrich our everyday lives.
INFORMATION
‘Ettore Sottsass – Rebel and Poet’ is on view until 24 September. For more information, visit the Vitra Museum website
ADDRESS
Vitra Schaudepot
Charles-Eames-Strasse 2
79576 Weil am Rhein
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox
-
Gerhard Richter unveils new sculpture at Serpentine South
Gerhard Richter revisits themes of pattern and repetition in ‘Strip-Tower’ at London’s Serpentine South
By Hannah Silver Published
-
Vipp’s Scandinavian guesthouse offers a sleek setting amid a wild landscape
Vipp Cold Hawaii is a Scandinavian guesthouse designed by architecture studio Hahn Lavsen in Denmark’s Thy National Park
By Sofia de la Cruz Published
-
Aston Martin DBX707 SUV is updated with a new interior and infotainment
The new Aston Martin DBX707 has better tech, better design but the same raw power, keeping its spot at the top of the ultra-SUV tree
By Jonathan Bell Published
-
The cosmos meets art history in Vivian Greven’s New York exhibition
Vivian Greven’s ‘When the Sun Hits the Moon’, at Perrotin in New York City, is the artist’s first solo exhibition in the USA
By Emily McDermott Published
-
The Met’s ‘The Real Thing: Unpacking Product Photography’ dissects the avant-garde in early advertising
A new exhibition at The Metropolitan Museum of Art in New York explores the role of product photography and advertising in shaping the visual language of modernism
By Zoe Whitfield Published
-
Detroit Institute of Arts celebrates Black cinema
‘Regeneration: Black Cinema 1898-1971’ at the Detroit Institute of Arts (DIA) brings lost or forgotten films, filmmakers and performers to a contemporary audience
By Anne Soward Published
-
BLUM marks 30 years of Japanese contemporary art in America
BLUM will take ‘Thirty Years: Written with a Splash of Blood’ to its New York space in September 2024, continuing its celebration of Japanese contemporary art in America
By Timothy Anscombe-Bell Published
-
Todd Gray’s sculptural photography collages defy dimension, linearity and narrative
In Todd Gray’s New York exhibition, he revisits his 40-year archive, fragmented into elaborated frames that open doors for new readings
By Osman Can Yerebakan Published
-
Frieze LA 2024 guide: the art, gossip and buzz
Our Frieze LA 2024 guide includes everything you need to know and see in and around the fair
By Renée Reizman Published
-
New York artist Christopher Astley showcases an alternative natural world
At Martos Gallery in New York, Christopher Astley’s paintings evoke an alternative natural world and the chaos of warfare (until 16 March 2024)
By Tianna Williams Published
-
The Whitney plots Harold Cohen’s artistic AI adventures
‘Harold Cohen: AARON’, at the Whitney Museum of American Art celebrates the artist’s software – the earliest AI program for artmaking – as an artwork in its own right
By Hannah Silver Published