A Bangkok exhibition looks back at some of France's most iconic designs
The anti-government protests in Bangkok may have prompted the cancellation of much of this year's La Fête French cultural festival, but one event is going ahead as planned - the "Icons of French Design" exhibition.
Stephane Negrin, the French cultural attaché, calls the event a "rendezvous".
With more than 30 products that date back as far back as the 19th century, the exhibition is curated by Cedric Morisset, who has put together a similar display as part of "The Year of France in Brazil" in Rio de Janero and Sao Paolo. After Bangkok, "Icons" is bound for Russia and Australia.
"It's of course about France, but not only. It's more about images," Morisset explains. "The word 'icon' is from the ancient Greek word 'eikon', which means image. Today, images have more and more power in society. Advertisements, TV and Internet are everywhere showing images, and products become images in themselves.
In the programme book, Morisset raises some intriguing questions, "What is an icon in the contemporary sense of the word? How does an object achieve iconic status? Through history? Commercial success? Fame? Plebiscite and recognition by aficionados?"
During the press tour, Morisset shines a spotlight on some of the highlights. He starts with Pierre Paulin's Ribbon Chair, a major representative of the 1960s economic boom, before moving to Jean Prouve's Standard Chair, designed in 1934 with larger and stronger back legs for Nancy University to take the strain of students' constant rocking.
He then proceeds to the Citroen DS19, which is smartly placed next to the E-Solex, which Morriset refers to as "the bicycle that moves on its own".
In the adjacent area, Morisset explains how Philippe Starck was inspired by a meal of octopus in an Italian restaurant to create the Citrus Squeezer. "Actually, it doesn't work perfectly, as some seeds and juice spill over. But many have it in their kitchen anyway - an example of how image overshadows technology," he notes, adding that this stunning product is still available in stores for about ¤50 (Bt2,000).
It's technology over image across the hallway as we ponder the careful thought that has gone into the familiar Bic ballpoint.
The last exhibit, fittingly, is one of the most familiar French names: Louis Vuitton's Malle or wardrobe trunk, evidence of the smart use of storage space by the legendary designer who once worked as a baggage wrapper for cruise ships across the Atlantic. Morisset calls it "the most iconic of Louis Vuitton's products reflecting both the transport revolution and change in fashion".
Morisset notes that the exhibition space on the seventh floor of Bangkok Art and Culture Centre is "more than challenging".
That may be so, yet he's done a commendable job. Chairs and sofas are clustered altogether on a big platform that draws our eyes as we walk into the gallery. The space among each exhibit is enough for me to view and examine the details individually and the lighting, which casts connecting shadows onto the back walls, invites me to step back and re-examine - and perhaps connect - them in groups of two, three or four. Two big screens show stills and movies and there's enough space to walk back and forth to get more information and make more connections between the products and what you've seen or used in everyday life.
Morisset also offers some observations on Thai design. "I met a few Thai designers a few years ago and they're very promising. I think they should try to work with the Italian and French luxury companies who are really strong right now. They would learn a lot and also earn a lot of money," he says.
"Here in Asia, Japan is the country that's famous for design, while Thailand is known more for crafts, Thailand has quality and know-how, and the design here can be improved to reach an international level. Design school students are travelling more and more and getting more knowledge of international design. In five or 10 years, I'm sure they'll be able to design international iconic products."
Philippe Liege, counsellor for culture, science and development, has the last word. The seventh edition of La Fête will be in February and March of next year, when, as he says, the weather is better and there aren't as art-and-culture events happening.
And so "Icons of French Design" is not simply a remembrance of things past - nor that of festival postponed - but a reflection of how design is related to other arts and sciences and how it has been functioning in our everyday life.
It's a rendezvous, as Negrin puts it, with a great festival that's soon to come.
Special thanks to the Embassy of France in Thailand's Napadol Wirakan and Caroline Albenque for all the assistance.
SAVOIR FAIRE
- "Icons of French Design" is at the Bangkok Art and Culture Centre until August 22.
- It's open daily except Mondays, from 10am to 9pm.
- Admission is free as is the all-day parking in the underground parking lot.
- Visit www.AmbaFrance-Th.org.