December 1, 2017

PIASA – DESIGN + ART do Brasil

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We are delighted to present this new edition of the Brazil Design Auction, a currently booming specialty. Today design production in Brazil is extended to across the country, professionals working mainly in the three major capitals and inner cities. Brazil well known before the 50’s as a copyist of European models, is now recognized as one of the major stakeholders in bringing a new freshness to the design market. Previously sporadically presented abroad, Brazilian design is gaining worldwide recognition. Since the end of last year, Brazilian design galleries are accepted in major international fairs in Europe and the United States, where the connoisseurship already takes a sharp look at the pieces on offer. Collective Brazilian designers project showcase contemporary creation abroad during international events in Rome, London, and during Design Weeks in Milan, New York, and Paris. A robust Brazilian organization is being set up, bringing together its protagonist united by a fierce desire for cohesion and valorization of their national identity. The steady increase of the pieces in the market and their variety create an unprecedented emulation. Accompanying this movement, the publications about the subject are multiplying, to allow collectors to have access in full transparency, origins, archives and years of research finally published on the work of their favorite designers. For instance, the barely release new Brazilian Design Bible, Móvel Moderno Brasileiro at Olhares Editions, and many other catalogs raisonnés designed to meet the referential and iconographic necessities indispensable to support this flourishing market.
Built as the continuation of the 2016 Design do Brasil auction, the vacation offers a historical panorama of Brazilian design, presenting both historical and contemporary pieces from the 1950s to the present day.
Brazil started producing unique furniture of its own in the 1940s, with Designers abandoning European influences to launch a new style imbued with their own culture, adapted to local taste and means of production. The 1950s-1970s were one of the most fertile periods for Brazilian Design, and a field of expression for pioneers of Modernism. The 130 works offered at PIASA by designers such as Joaquim Tenreiro, Sergio Rodrigues, Scapinelli, Zanine Caldas, Oscar Niemeyer, Carlos Hauner, Martin Eisler and Lina Bo Bardi span the period and help us understand its stylistic evolution.
Design do Brasil 2017 is a more daring vacation than the previous one. This year, Piasa proposes a particular focus on the discovering new Brazilian talents. With a wide variety of pieces showing the wealth of contemporary design, the materials’ diversity, the pieces originality, their little touches of humor or their interactivity. A subversive functional design bringing new symbolic dimensions conquers the international market.
The Campana’s brothers, at the origin of “design d’auteur,” create works to the limits of contemporary art with similar market dynamics. This trend will continue to evolve and diversify through multiple subjective experiences based on the dissemination of conceptual references from the furniture and product design industry. The appropriation of everyday objects and other decontextualized elements – thus creating new meanings – is significant of the Work of Campana as well as Leo Capote (Lots 146 & 148) and Brunno Jahara
(Lot 160) Same case with Mari Dabbur and Yankatu’s pieces, which introduce elements of local craftsmanship into their pieces: the Meada armchair (Lot 154) and the Memórias set (Lot 151 & 152) emphasizes the skills of traditional weavers from Mina Gerais to reinvent them.
Music and miscegenation at the very heart of Brazilian culture are obviously on the agenda. Alfio Lissi’s Banco Tom draws across Bossa Nova notes, Cariocas mounts and wonders while Luciana Duque takes us on a walk on the Portuguese stones from Copacabana beach, reminiscences of the famous Mar Largo motif created by Roberto Burle Marx (Lot 143). Paso Doble chair by Sergio Fahrer leads us through the Tango rhythms of Argentina ( Lot 163). Africa – one of the essential origin of Brazilian interbreeding, is also in the spotlight with the armchair Ndbele which remembers the sublime ornaments worn by giraffe women ( Lot 164).
Let’s note the huge talent of these designers who are directly inspired by their diversity and their local culture while managing to adapt their ideas to the international language of contemporary design scenario.
The importance of wood, which by its abundance and accessibility remains the preferred material in Brazil, is also significant. An obvious choice for a country named after such a rare species. The use of this raw material is ancestral, stemming from the native culture, used by the Portuguese colonists, to immerse into the modern furniture. Through their new conceptual and aesthetic proposals, contemporary designers are continually reinventing this tradition of carpentry, so dear to modern masters. This “design d’auteur” based on wood is represented by contemporary creators such as the poetic Paulo Alves or Ricardo Graham and Marcos Amato, nicknamed the fairy fingers of the woodwork. Rahyja Afrange, with strong knowledge inherited from Scandinavian design, emphasizes the simplicity and purity of this material. Other designers use wood in a more committed way: this is the case of the eco-responsible Rodrigo Simão whose creations are aimed at social interaction (Lot 135). Rodrigo Calixto makes us rediscover the history of each piece of wood together with it collective unconscious (Lot 128). Carlos Motta also explores this material and shows his concern for the origin of the raw material: in general reused wood that he even nicknamed madeira redescoberta / wood rediscovered. It gives birth to extraordinarily poetic works such as the magnificent Koguma luminaire whose dome is created from an ancient mango tree (Lot 90) Or the table Não me toque (Lot 89) which questions the circulation of the species of Amazonian woods and their protection. Finally, other designers are exploring the very symbolism of matter through its organic form, such as Julia Krantz (Lot 121 ) and o Designer Artesão (Lot 122 ).

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Beyond wood’s species, considered as rare and sought materials, other treasures still hidden under the Brazilian soil: stones. The mining history of the country dates back to the seventeenth century, during the era of colonial Brazil when the Bandeirantes went on expeditions in search of gold, silver, emeralds, and diamonds. It was customary for the palatial furniture to be adorned with these kinds of treasures. This is the flashback offered by the beautiful Poça table by
Katharina Welper, whose fineness of the colorful mosaic reminds the inlay of precious stones in the antique furniture. Other designers are also interested in valuing rare minerals deposits still not well-known. So does Leo Dicaprio in his Pablo tables choosing to use, one of the most precious quartz in the world, the Macaubas blue (Lot 155). Studio Rika raises the question of the material’s transformation process with this precious stone look faceted Rock Buffet, the designer as a lapidary, the hand that turns brutality into sublime (Lot 93) .
Prototype, Samuel Lamas and Gisa Simas value a certain artisanal production through the materials and the manual techniques they use while maintaining a close relationship with the industry. Creating, producing and selling Design require very different skills indispensable to this new generation of independent designers that are always attentive to new opportunities.
Other creators take the lab side of constructive design. The works enriched with references to the history of Brazilian art, design, and culture offer a new look while enhancing established traditions. Let’s take the example of Caique Niemeyer ‘s Banco Elo, highlighting the legacy of his great-grandfather while revisiting it (Lot 114) or Paulo Alves’s tribute to his elder Lina Bo Bardi with the Cadeira Bo (Lot 102). The Latoog Regg is actually the hidden daughter of the Brazilian hammock (red) and Jacobsen’s famous Egg chair ( Lot 166). The Non- Objective Table of Studio Aveus proposes a three-dimensional reinterpretation of suprematist painting (Lot 156). Chico Fortunato tackles Brazilian concrete art while Claudia Moreira Salles incorporates certain reminiscences of Bahauss into contemporary vocabulary (Lot 99 & 91).
The referential work present in the design pieces is also valid for other universes, such as childhood, the playful and instinctive world. We find this yesteryear flavors in Bianca Barbato’s creations ( Lots 162 & 169). Also in the suspended time of a flight on the Bilanx swing by Rodrigo Calixto ( Lot 127). Likewise, in treading the wild grass in the Savana armchair by Tiago Curioni ( Lot 96 ). This diversity of looks and sensations is linked to the history and to the energies that make up the universe as Erico Gondim reminds us with his Vibra Table ( Lot 95 )
These creations full of character and uniqueness illustrate that contemporary Brazilian design is continuously evolving, as is the freedom that brings these new generations. Creative cross-referencing and accessibility to technology are unlimited. Randomly new possibilities are representative of their context and the inventiveness of their authors. Endowed with infinite potential, the new generations of Brazilian designers, warmly received by the international public, reached a level of maturity ready to amaze us every day a little more.

Sophie Su – Art Advisor and Curator

Saturday the 9th, December 2017 from 11 AM to 7 PM
Sunday the 10th, December 2017 from 2 PM to 6 PM
Monday the 11th, December 2017 from 10 AM to 7 PM
Tuesday the 12th, December 2017 from 10 AM to 7 PM

PIASA – 118 rue du Faubourg Saint-Honoré 75008 Paris – France

Iformations & images
Cécile Demtchenko Woringer
T :+33 (0)1 53 34 12 95 –

*If you would like to receive the full catalogue of the pieces, please send us an email at: detalhe

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