Luxury showrooms in Stockholm – the best you can find At Design Limited Edition we want to show you the best of interior design from around the world. Through our…
The eighth annual guest-curated exhibition ‘accidents will happen: creative salvage, 1981–1991,’ takes over new york’s Friedman Benda. Curated to welcome visitors from January 13 to February 12, 2022, the gallery showcases keywords from an often overlooked but highly influential period of British design that exploded out of 1980s London. The event is the first international presentation dedicated to creative salvage furniture.
Showcased are early and important pieces from key figures many of whom have gone on to become leading household names, such as renowned artists tom Dixon (see his design in dialogue interview) and Ron Arad, Amongst Mark Brazier-Jones, André Dubreuil, Danny Lane, Jon Mills, and Deborah Thomas.
Curated by Gareth Williams, an instrumental figure in the auction market, the exhibition ‘accidents will happen: creative salvage, 1981–1991’ captures a critical moment in the course of recent design history. The different works chart an exciting narrative through a wealth of contemporary archival material. Against the backdrop of a country suffering from mass unemployment, political polarization, the miner’s strikes, and the Brixton, Birmingham, and Liverpool riots, these creatives forged ahead making furniture using the most rudimentary of materials and equipment.
ROCOCO-INSPIRED FORMS MEET ANARCHIC FURNITURE
In the hands of the artists, scrap metal and industrial bricolage meet, merging salvaged rebar with rococo-inspired forms, while clad with bicycle inner tubes served as the most basic form of upholstery. Redundant tools, rusting scaffolding clamps and dumbbells became the structural support on chairs, as reclaimed marble façade and parquet flooring bricks are repurposed as tabletops. Additionally, chandeliers are formed from broken glass bottles, whilst sheet steel and concrete are pressed into volumetric forms.
Regarding Ron Arad’s iconic concrete stereo, the critical material is encapsulated through a physical production of punk sensibility and liberating design. from playing in bands to holding infamous illegal warehouse party/exhibition hybrids, the work leaves a tangible legacy for subsequent studio production.