Pablo Reinoso
Spaghetti Corten / 2008
Limited edition of 8 + 4 ap
corten steel, teak
CM H: 80 W: 172 L: 344
IN H: 31.5 W: 67.7 L: 135.4

Spaghetti Corten takes its inspiration from the Parisian park bench as Reinoso has twisted the familiar and conjured up a playful, fantastical alter reality. The bench has an inescapable surrealist influence, with a poetic, elegant repose with the empowered seat slats twisting and growing into graceful curves of rusty corten steel.

Spaghetti Corten is a conceptual work which also showcases a handcrafted dexterity through its organic form. The teak wood of the seat with its natural patina, works harmoniously with the corten steel. Both materials are protected against natural outdoor weathering.

Reinoso’s multicultural background has informed his desire to discover links between different cultural aesthetics. The Argentinean heritage of craftsmanship is intrinsic in his work, which has the unusual ability of serving a functional purpose as well as igniting emotion in the user. Spaghetti Corten borders between sculpture and design then, offering a vision in which function coexists with imagination.

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About the artist
Pablo Reinoso

Pablo Reinoso is a French-Argentine artist and designer. He was born in Argentina in 1955 and has lived and worked in Paris since 1978. Reinoso studied architecture but also has a longstanding interest in sculpture, photography, architecture, and design. 

Reinoso is known for his monumental public benches. The creation of the Spaghetti Bench (2006) propelled him to international recognition.  Reinoso seeks to reconsider the role of the object through his lively and audacious works. With these sculptures, Reinoso calls into question the concepts that take over the object’s original function and “exceeds its own nature,” making the public bench a place for meeting, conversing and for everyday life. 

Scribbling Benches begun in 2009, in this series he used steel beams as his starting point. This heavy item, invented to provide underlying structure for architecture, but is instead twisted like a string to create a bench and draw a light, transparent, contemplative space. 

A constant feature of his work is his penchant for endlessly questioning, subverting, using materials or objects against their grain, bringing opposites together, and playing with the limits of impossibility.

2007
/ Philip Jodidio, 100 Great Extensions and Renovations, The Images Publishing Group Pty Ltd.

2001
/ José Jiménez, El Final del Eclipse, Fundación Telefónica, The University of California.


Museo de Arte Latinoamericano (MALBA), Buenos Aires. Instituto Cervantes, Paris. Centre d’art André Malraux, Colmar. FIAC, Espace d’art Yvonamor Palix, Paris. Maison des Arts, Malakoff. Museu Nacional de Arte Moderno de Bahia, Salvador de Bahia. Centre Bazacle, Union Latine, Toulouse. Centro Cultural Recoleta, Buenos Aires. FIAC, Daniel Gervis Gallery, Paris, France. Museum für Kunst und Gewerbe, Hamburg. Centre culturel Français de Bangkok and Culturesfrance, Bangkok. Musée de l’Hospice Saint-Roch, Issoudun. Design High, Louise Blouin Foundation, London. Centre Pompidou, Paris. Museo Reina Sofia, Madrid, Spain. Museum of Arts and Design, Second Life, New York. Musea Brugge, Brugge, Belgium. Musée du Guandong, Canton, Chine. FIAC Mouvements Modernes, Paris. Centre d’art André Malraux, Colmar, France. Centro Cultural Recoleta, Buenos Aires, Argentina. Echigo-Tsumari Art Ttriennial, Japan. Museo Nacional de Bellas Artes, Buenos Aires. Museo de Arte Moderno, Mexico. Museo de Arte Extremeño e Iberoamericano (MEIAC), Badajoz. Museo de Arte Moderno, Mexico. Musée d’art moderne, Paris. Vitra Design Museum, Berlin.
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