Salone del Mobile
First used by Marcel Duchamp in 1931 the term ‘mobile’ describes the instruments of the American sculptor, Alexander Calder. A French noun; for ‘furnitures,’ or an adjective; ‘darting, nimble or moving,’ when interpreted as a pun it may represent one’s motive or what prompted a crime.
Recalling the shadows and hanging miniatures of a collective memory, the mobile could be considered a naive device without obvious function. Neither determined nor determining, its spatial operation is dependent on the very external forces that invite accident and uncertainty.
Gathering an array of spatial practitioners operating outside of the traditional design services to construct a hanging apparatus, Salone del Mobile [SYD] challenges preconceptions about the architect’s role, re-imagining how cultural or creative production is established without a building. Representing spatial agendas unique to each creator, its hanging armatures support live and 1:1 acts of disciplinarity. Together, these mobiles form an assemblage of parts and people, a divergent network of ideas emerging from alternative practice in Sydney.
Participants:
• HEIDI AXELSEN AND HUGO MOLINE
• FERAL PARTNERSHIPS
• BETCHOUف
• BANGAWARRA
• JESS SPRESSER + PETER BESLEY
• INTERLUDE
• ADJACENCY STUDIO
• PLUS MINUS DESIGN
• HILL THALIS
• MORI
• SOPHIE LANIGAN
• SELF-OFFICE
• TARN
• CATSEYE BAY
Curatorial: Gracie Grew, Cailtin Condon, Ella Lord
Essay: Michael Tawa and Gracie Grew
Hanging Device: Jessica Spresser, Gracie Grew, Peter Besley
Editorial: Kate Goodwin, Janelle Woo
Graphic Identity: Eloise Myatt
Tin Sheds Gallery acknowledges the Gadigal of the Eora Nation, upon whose ancestral lands our exhibitions take place. We pay our respects to Elders past, present and emerging, acknowledging them as the traditional custodians of knowledge of these lands, waterways and Country.
All photos by Maja Baska, 2024.
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