By Pao­la Ca­ri­ma­ti — pho­tos by Max Zam­bel­li

No­bles­se obli­ge — p. 45

ELLE Decor (Italy) - - English Text -

An ari­sto­crat in Broo­klyn: guests in the stu­dio of Se­ba­stian Er­raZu­riz, the crea­ti­ve ac­ti­vi­st ori­gi­nal­ly from Chi­le wi­th a fo­cus on po­li­ti­cal de­si­gn. His pie­ces? Sculp­tu­ral and func­tio­nal works of art Of Chi­lean ori­gin, now set­tled in Broo­klyn, New York, Se­ba­stian Er­raZu­riz is a po­li­ti­cal­ly- ex­po­sed, de­cla­red de­si­gner. To the que­stion ‘ how do you li­ke to de­fi­ne your­self’, he re­plies: “I am an ar­ti­st, a de­si­gner, an ac­ti­vi­st.” His crea­ti­vi­ty, in fact, mo­ves wi­thin the field of art de­si­gn to then ex­plo­de in the ur­ban spa­ce wi­th si­te- spe­ci­fic in­stal­la­tions that mo­ve thoughts and re­flec­tions on hi­ghly to­pi­cal so­cial is­sues. It all star­ted in 2006 when, wi­th ‘ The tree me­mo­rial of a con­cen­tra­tion camp’, he un­set­tled con­scien­ces: he plan­ted a 10- me­tre hi­gh ma­gno­lia in the midd­le of the Na­tio­nal Sta­dium in San­tia­go, Chi­le so as not to for­get the tra­ge­dy per­pe­tra­ted in 1973 by Pi­no­chet again­st his coun­try­men. In 2015, he was back on eve­ryo­ne’s lips wi­th ‘ A pau­se in the ci­ty that ne­ver sleeps’: a me­ga vi­deo pro­jec­tion on the screens of Ti­mes Squa­re, NY, of his fa­ce whi­ch, ya­w­ning, en­cou­ra­ged peo­ple to ta­ke back their own ti­me. Two dif­fe­rent ways of put­ting the fo­cus on man, in work as well as in re­la­tion­ships. His pro­duc­tion de­se­cra­tes the tra­di­tio­nal sen­se of the do­me­stic, dra­wing from en­vi­ron­men­ts worlds away from li­ving: pla­ces of wor­ship, ar­chaeo­lo­gi­cal si­tes, the ani­mal and plant world. Eclec­tic and ne­ver pre­dic­ta­ble, the lan­gua­ge of Se­ba­stian Er­raZu­riz al­so finds its per­fect re­pre­sen­ta­ti­ve in

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