PRINT May 1987



IT IS TIME TO PAY ATTENTION to a phenomenon currently occurring in many parts of the world, in Japan, Spain, the United States, Italy, France, and elsewhere: a young generation of designers is abandoning the reassuring certainties of the design language that prevails today, and following unproven, twisting paths through a terrain that includes not only contemporary materials and technologies but also traces of, for example, kitsch, nature, both Donatello and Freud, the Orient, and religion. Theirs is not a narrow idea of time, but a broad vision of the relationship between past, present, and future. The works they produce are “prototype objects”—eclectic, very personal objects almost like sculpture, and incorporating many different media. It almost seems that they want these pieces and the ideas that derive from them to act as acupuncture needles in the flaccid social body, bringing to

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