De-titled II, 2017

This work consists of a series of silicon skins moulded around MUJI appliances designed by Naoto Fukasawa. Design objects are usually represented through photographs which privilege selected parts of the objects. Photography generates a hierarchy among all the parts of the products that finally have a front and a back, a top and a bottom. By spreading these silicon skins, the whole object is made visible at the same time, thus giving equal importance to every part of the objects. This process represents a way of objectively documenting and archiving design products.



De-titled I, 2017

This work consists of a series of design magazines where images have been erased. The work explores the aesthetics of the design magazine as a medium, with its layout, typography and paper. Furthermore, through this process, a certain wording and dialectics peculiar of the design language is highlighted, appearing as silly and exaggerated.

Design Tunes, 2012

Design Tunes is a design anti-manifesto in a musical form. Ten tracks have been produced starting from excerpts of interviews of authoritative people in the design industry that describe and celebrate design. This work is a further attempt to unveil and debunk the rhetoric dominating the design discussion. Project in collaboration with Agata Jaworska.


Design Queens, 2013

Design Queens is a series of portraits of influential women in the design industry, printed on lotion masks. With their charming behaviours, researched appearance and sophisticated style, they represent aspects associated to design and ultimately personify it.



Design Loop, 2017

In Design Loop a series of connected printers print images and texts from design websites, blogs and the designers' account on social networks. Paper sheets are passed from one printer to another and finally flock on the floor, thus creating an archive of what has been shared within the design community.
Design schizophrenically presents itself as the most ephemeral and consumerist context, as well as the solution to our most crucial issues. As a result, the number of design events and printed or online magazines increased considerably in the past decades, and so did the number of visitors, readers and journalists. The increasing popularity of design media has lead to a complex industry that responds to its own logics and that has developed its own language. Giovanni Innella observes the design phenomenon and develops a critical discourse expressed visually through the works presented in this exhibition. Design and Its Double is an ongoing body of works that Giovanni Innella initiated in 2008, while studying at the Design Academy Eindhoven. This series of works explores the representation of design, its rhetorics and the industry that spins around it.

Assistants:
Nao Kobayashi
Kao Ito

Photos by:
Kei Okano

With the support of:

Year: 2017

大量消費に伴う経済繁栄が著しい昨今、消費される工業品や日用品の多くは雑誌広告やイベントによって、広告が偶像化された結果のビジュアルによる消費であり、物理性や機能性を求めた消費ではありません。デザインは統合的に、最も一時的で消費者主義的な文脈として、また最も重要な問題の解決策として、それ自体を提示します。 その結果、過去数十年間にデザインイベントや印刷雑誌、オンライン雑誌の数が大幅に増加し、訪問者、読者、ジャーナリストの数も増加しました。デザインメディアの人気が高まり、独自のロジックに対応し、独自の言語を開発した複雑な業界が生まれています。ジョバンニはこのような、デザイン現象を観察し、作品を通して視覚的に、批判を込めて表現します。“Design and Its Double”は、デザイン・アカデミー・アイントホーフェン在学中の2008年より継続されている進行中のプロジェクトです。 この一連の作品は、デザイン、その修辞学、そしてその周りを巡る産業の表現を探求しています。


ジョバンニ・インネッラ(1982年、トリノ出身)。トリノ・ポリテクニック大学(イタリア)でインダストリアルデザインを学び、デザイン・アカデミー・アイントホーフェン(オランダ)でコンセプチュアルデザインを学んだ後、ノーザンブリア大学(イギリス)にてデザイン批評博士課程修了。主な展示にサン・テ ティエンヌ国際デザイン・ビエンナーレ(フランス)、フオーリサローネ(イタリア)など。スヘルトーヘンボス近代美術館(オランダ)に作品収蔵。現在は東 京を拠点に、国内外で活動の他、産業技術大学院大学(首都大学東京)で教鞭を執る。デザイン批評を文筆と視覚表現の双方で展開する。


Assistants:

小林 奈生

伊藤 夏青


Photos by:

岡野 圭


With the support of:

産業技術大学院大学