In Milan, Nika Zupanc presented a series of new items, collectively called “Gone with the Wind.” The pieces are a delicate balance between femininity and nature.
The Wind Pavilion
This is the structure designed by Nika and dressed in Qbiss by trimo that housed the objects on display. The large, white building serves as a frame around her pieces and a statement: “It is a quilted house driven by toy-like veneer windmills on the outside and with a big bang of connotations from the inside. The Wind Pavilion stands as an icon evoking a sense for nature. With it, Nika Zupanc embraces the issue of responsibility by introducing the elegance and poetry of creative expression into predominately technical solutions.”
Black Cherry Lamps
Every single cherry in the world was blessed with a shape that is simple and mysterious at the same time. It has curves that flirt and has the nerve to suggest. Ah, cherries! This modular assembly of lamps pays homage to them all. Simple in design and generous in their final effect, they make possible many combinations that derive from very rudimentary moves. In their dimension, their bigness also offers an air of poetically codified freedom.
Modesty Sofa & Bench
The surfaces have been cut in a restrained fashion but broken sharply, so that the timber would be as it should be – as is its nature. Then black sateen was added as an intended excess. If you can only remember beauties robbed of fortune but filled with elegance, then you know where this is heading. In a world of demanding circumstances, this is a noble move. In spaces hungry for some identity, a discreet black ribbon comes as a pleasurably stimulating theme.
Listen to them. Neatly packed carbohydrates that persistently call to you to be opened, to have their innerness savored. They are prodigies of a sort – passionate lovers of gatherings, of grouping and regrouping, within formations and angles that are not-so standard in a cubical world. They were envisioned as containers for secrets of all kind, but are also suitable for many other tasks. They can play the child away, or they can support a tired body or serve as a coffee table.
Here comes a charming toy-like rollercoaster for you and your delusions. It is actually the compensation for all the things you simply did not do, polished to perfection. Except that it ceases to be comfortably navigable the moment you answer the instrument’s artificial call. There is no serial equipment to be expected, no gloves and no air bags, so caution is mandatory. Although it is an instrument of tiny proportions, this is a poisonous item because it efficiently grooms your vanity into an asset of unavoidable dimensions.
Vladimir, Boris, and Alexander
Imagine the good old cradle, extinct for a while and now coming back again, stylishly reincarnated in the form of a flawless holding device for ultra-young human bodies. Suddenly all gene sets are displayed with all the respect they deserve, and the ever-present issues of love and control are addressed in the most functional way. It will surely rock offspring gently to sleep. But it will also offer an honorable exit to all ladies and gents for whom parenthood brought a rude introduction to the boredom of visually humiliating options.
Your favorite summer of love silently sneaking before your eyes. You know. Things you want to outgrow, kisses you want to steal, fantasies you want to share. The ladder is erected before you as a monument to the simplicity of longing and as such it is real surprise guest. No longer does it stay hidden in the backwaters of the mind, no longer it is a primitive and sub-zero design tool. With some gentle remodeling, it becomes a charming frontrunner, an enjoyable guest and, ah yes, a materialized piece of yesterday. There is a piercing on the top of it, like a final blow to your reservations.
From the press release:
This year’s edition of Superstudio Più will again be marked by the intriguing spirit of Nika Zupanc. With her exhibition Gone with the Wind , Nika Zupanc continues to be sincere while uncovering the excuses for a socially acceptable status quo. By positioning archetypes that are considered feminine in the carefully selected centers of public attention, her chillingly beautiful forms become emerging reference points. Her battles are of a higher style, and so the presence of famous female literary heroines remains mandatory.
The entry point to the world of Nika Zupanc – a frame for her gallery and a prism for readings of her work – is also a metaphorical structure. It is a tiny house driven by toy-like windmills on the outside and with a big bang of connotations from the inside. The Wind Pavilion stands as an icon evoking a sense for nature. With it, Nika Zupanc embraces the issue of responsibility by introducing the elegance and poetry of creative expression into predominately technical solutions.
Like so many magic pavilions in the past, this one is also outfitted in one of the latest achievements of the industry – the unique modular façade system Qbiss by trimo. Optically smooth surfaces, unique rounded corner elements, and “shadow joints” allow great freedom of expression and enable an optically enchanting combination of an inclined grid and an attractive landscape of 45 restless windmills.
Inside the Wind Pavilion, Nika Zupanc will put her newest family of objects on display. This time they came to address you as advocates of a sort because they present a case for new symbolic and emotional readings of design, and are told through elements of modesty and self-reliance.