«In general I write a scenario for my exhibitions, the exhibition in Paris is a presentation of work I have produced over the past three years with the Carpenters Workshop Gallery, hence the title «1000 jours» (1000 days). We must not invent a concept that wasn’t there to start with; the pieces here don’t come from the same idea.»
Robert Stadler’s words are evidence of his discretion and humility. One only needs to observe the different elements presented in this exhibition to see a connecting thread: Stadler himself, an uncommon personality that, through these pieces, reveals a coherent and demanding body of work, rhythmed with his commitment in art to make the object mutate conceptually, revealing it over the course of a deep questioning.
The designer Robert Stadler has, since the start of his career, looked at furniture from an innovative, at times off-kilter perspective, favouring a re-reading of the object in its functional dimension and its presence in the universe. He imposes a vision that is clouded by a slight shift in the cursors of representation.
The fragmentation of a more or less existing typology with «Tephra», the hybridisation of art and furniture with the variations of «Monochromes», the affirmation that nature is sovereign in the series «Exercise», an admiration exercise in homage to Jean Royère, a decorator from the fifties written with «Royeroid», a poetic take on the de-structuring and re-materialisation of light with «Lightspots», the illusion of a natural geological proliferation with «Possible furniture».
The different elements compose a narrative «à la» Georges Perec. A renewed story for each object, a confirmation of its presence, of its sensorial impact, of the adventure of prolonged use by Robert Stadler.
In the Parisian gallery space that was inaugurated last September at 54 rue de la verrerie in Paris, Robert Stadler invites the renewal of the history of furniture and the marking of a history that originates in Ancient times with innovative milestones.
Robert Stadler was born in Vienna in 1966. The designer has always been drawn to the details of objects and the narratives they evoke. He studied design at the Istituto Europeo di Design in Milan before attending the École Nationale Supérieure de Création Industrielle in Paris in the late 1980s. He has continued to work in Paris ever since.
In 1992 Stadler co-founded the RADI Designers collective, whose varied practice revolved around the marriage of the everyday and the unusual. Stadler began to work on solo projects in 2002, though he continued to collaborate with RADI until the studio’s dissolution in 2008.
Stadler’s interests encompass both what he terms “aristocratic design” and objects typically deemed vulgar or absurd; he explores the possibilities for building bridges between the apparently incompatible. He is involved in furniture making, product, interaction design, art installations, and multimedia ac-tivities. He frequently questions objects’ established identities.
His furniture tends to both convey and destroy preconceived notions of what an object should be. Although works such as his Possible Furniture series may at times appear haphazard, they are perfectly constructed to fulfill their ergonomic purpose.