Focus: Flos Ad Campaign by Jean Baptiste Mondino
Products can be perceived as cold, inanimate objects. Yet, renowned French photographer, Jean Baptiste Mondino has injected life into them in a recent ad campaign for the legendary Italian lighting company, Flos. Better known for his stunning fashion photography-- including a long association with Jean Paul Gaultier -- and his sexually charged music videos for the likes of Madonna, Bjork and Lenny Kravitz, Mondino entered new territory when he began his ongoing collaboration with Flos in the late 80s. Introduced by Phillipe Starck, Mondino immediately charmed Flos' Chairman, Piero Gandini, with his energy and has consistently brought an emotional impact to the depiction of Flos' classic lighting collection. Defying convention, Gandini has allowed total freedom in Mondino's approach and disregarded the committee approach that is more prevalent in advertising. In this manner, a simple process has proven successful-- samples of the objects are sent to Mondino, he sends concepts sketches via fax to Gandini, and then the photo shoot begins. Interestingly, the final result is seldom what was originally approved as Mondino responds to the openness and reacts to the inspiration that arises on site. In fact, Gandini embraces his independence and admires how he is totally synchronized with the message that is being communicated.
Beginning with the initial ad campaign that introduced several highlights of the Flos lighting collection and its prominent designers, the collaboration has evolved. As Flos has discontinued its other brands and focused on the exciting mixture of old and new designs by some of the best designers in the world, the products speak for themselves. This is evident in the series featured on these pages. With a strong emphasis on composition, a whimsical array of objects is introduced into the page to further delineate the form of the featured lighting fixture. In several instances, the incorporation of the body alludes to Mondino's background but it meshes beautifully without dominating the layout. It is through the minimal and carefully selected accents that a poetic quality seems to dominate the page as a story seems to emerge. The result is one of Mondino's most exciting efforts. Thus, coming from a different background has clearly made a difference. In fact, Mondino states that he is not fascinated by objects -- "although very beautiful, they are not very warm. So, I bring life into it -- that's what I'm good at".
Note: Six page spread with six full page photographs in Graphis Magazine, January/February 2002. It was based on actual interviews that I conducted with Jean Baptiste Mondino and Piero Gandini.
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Archigram: An Experiment in Architecture or an Experiment in Exhibition? This season in New York has been characterized by an unusual lack of winter chill and an abundance of architecture and design exhibitions. From small galleries in SoHo to large museums in Midtown, from a small art school in Brooklyn to a large university in Upper Manhattan.... the choices are plentiful. Among these, there is "Archigram: Experimental Architecture 1961-1974", the first major American exhibition of the visionary British architectural collaborative composed by Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Mike Webb. Originating from their efforts to create an alternative to the mainstream architectural thinking, they created Archigram magazine (ARCHItectural teleGRAM). In turn, they would greatly influence the work of future generations (especially the avant-garde movement in art and architecture throughout the United States, Europe and Japan) as they proposed radical views toward cities and housing typologies. A collaboration between Pratt Institute, Thread Waxing Space, Cornell University, Storefront for Art and Architecture, and Columbia University, this exhibition has been divided in sections in order to be accommodated among the different venues. Although I admired the effort by these organizations to come together and produce such an important contribution to the architecture and design community, I have mixed feelings about the end results. My initial foray into the world of Archigram was a visit to the Thread Waxing Space, a nondescript second floor loft on Broadway (near Spring Street). After struggling to find the entrance to this gallery, I was somewhat disappointed with my findings. Could this haphazard arrangements of prints covering every possible wall space been intentional or were they merely trying to hide the badly worn walls? I could barely hear my thoughts as a booming film sound footage was beckoning me from behind a curtained wall. This makeshift auditorium provided some video clips of Archigram's projects and the theory behind their work. It served as a supplement to the barrage of images that would overwhelm you in the adjacent space. The carefully detailed drawings were further explored in unconventional models and original Archigram paraphernalia. In addition, a secondary video was drowned out by the noise in the main room. It was amazing to see the wealth of invention and creativity that was hidden within the confines of these rugged frames. The draftsmanship seemed to compensate for the inevitable impossibility of seeing these visions come to life. Yet, this attention to detail was lost in the models as they seemed precursors to the drawings, showing their free discovery phase as they utilized a variety of inexpensive materials to quickly depict their ideas three-dimensionally. Furthermore, the prevalent "spaced-out" culture of the 60s clearly dominates the architectural and graphic language. Although inspired by the fantastical imagery before me, I can't help but question if this is a second-rate presentation to what clearly deserves a rightful slot in some of the major exhibition venues of America. In fact, the financial resources that these organizations obtained may have been better served in a larger context. Yet, this non-traditional approach may be exactly the appropriate statement that a clearly non-traditional architectural legend wants to make.... |
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Shallow Grave... A Review The first commercial collaboration of an ingenious contemporary British film team: Danny Boyle (director), Andrew McDonald (producer) and John Hodge (writer), "Shallow Grave" (1995) was the precursor to "Trainspotting and "The Beach". In a somewhat conventional storyline, three roommates spiral into a world of deceit, despair and destruction after they discover the dead body of their new roommate alongside a suitcase full of money. A series of not always logical events follows as they decide to dispose of the body and keep the money. Yet, its brilliance lies in its ability to tell the story in a decidedly un-Hollywood style. Filmed in Scotland, the story is characterized by a series of unpredictable twists and turns that mimic the curves of the local streets. This is alluded to as the film opens with a fast-paced drive through Glasgow. Consisting of one continuous shot, an energetic techno soundtrack complements it and the resulting mood gives you a glimpse into the furiously fast chain of events that follow. With vivid colors and clean lines, an attention to visual content is evident in the carefully constructed images of the apartment. While refraining from being overly fashionable. a certain spareness is created with a minimum of furniture that accurately depicts the home of young professionals who possess a certain sense of style. Spliced with humor, a collage of scenes serves as a window into a borderline unhealthy relationship between Alex, Juliet and David, as we look with amusement as well as contempt into their roommate selection. Hugo is the lucky winner but it is quickly obvious that there is more than meets the eye. With his mysterious death shortly after he moves in, the mood begins to darken and a brilliant use of lighting combined with long shots steers clear from conventional gore. In their attempt to dispose of the body, the hidden implications instill much more fear in the viewer and the beginning of their spiritual death is set in motion. Moving in between a macabre storyline, there are playful and interesting cuts that depict Alex's and Juliet's shopping spree with their newfound wealth. On the sidelines, David is becoming undone and transforms the attic to reflect his paranoid delusions. Nevertheless, glimpses into Hugo's former life and the appearance of his shady associates will make the roommates question their choices. Influences of Hitchcock and film noir become evident as the intelligently written psychological thriller unfurls while comparisons to the "Treasure of Sierra Madre" are easily evident. In this manner, the artfully composed shots draw on film history while providing an alternative look into contemporary film making. Throughout the film, snappy dialogue ties the story together and distinctly different personalities emerge. Drawing you into the story, it is never quite clear where things will lead because your expectations are shattered at several points throughout the film. Yet, while predictable at times, it is the unexpected developments that drive the film. Consumed by greed, the macabre storyline makes a dark statement on the strains that friendships can overcome and a play on morality ensues. Looking at your own life, you will momentarily question your own relationships and examine the validity of your own set of ethical guidelines. The finale draws on small imperceptible clues left throughout the film and the result is a hugely satisfying ending. Note : This was part of an assignment for a "Film and Architecture" course. |
