About the Exhibition
Carpenters Workshop Gallery is pleased to announce the solo exhibition of Robert Stadler taking place from 27 April to 24 June in its New York gallery. Entitled ‘Weight Class’, the exhibition will feature works from his acclaimed ‘Cut_Paste’ series as well as new suspension light fixtures incorporating Isamu Noguchi’s iconic 1950s Akari lamps.
He will subsequently have two exhibitions: ‘Solid Doubts: Robert Stadler at The Noguchi Museum’ running through till September 3, and ‘You may also like: Robert Stadler’ a survey exhibition from 18 March to 25 June, initiated by Tulga Beyerle, Director of the Museum of Decorative Arts, Dresden (Germany) and curated by Alexis Vaillant. Finally, not to be missed will be ‘Waiting Room: Noguchi/Stadler’, an exclusive Installation at the Collective Design Fair, New York, from 2 to 7 May 2017.
A NOGUCHI CELEBRATION
Continuing Carpenters Workshop Gallery’s 10-year anniversary celebrations, the exhibition will be the perfect occasion to pay tribute to the renowned Paris based, Austrian designer who has been with the gallery
Robert Stadler has created new works that continue to question the expansive definition of “function” and the role of artistic expression in design practice.
He has cited the late American sculptor Isamu Noguchi as one of his biggest inspirations, whose work at once subtle and bold, traditional and modern set a new standard for the reintegration of the arts in the early 1950s.
A BALANCING ACT
“Weight Class’’, a sports term used in the boxing world, refers to the idea of balance that is explored throughout the exhibtion. Balance is found in the contrast between the marble and the aluminium honeycomb panels as well as in the carbon fibre and the counterweight principle that suspends the lamp.
The exhibition will include key works from his ‘Cut_Paste’ series as well as a new light fixture that adapts to the user’s space. Hung from ‘Anywhere’ this interactive ceiling light can be rotated and freed from its usually fixed location. The three-dimensional space of the gallery is simultaneously opened up whilst also remaining occupied; allowing the viewer to explore the constructed as well as individual space.
The rigid right-angled lines of the composite marble and aluminium honeycomb panels chosen from the ‘Cut_Paste’ series also cover the gallery’s facades; reminiscent of shapes that might have been collected from an imaginary building site, a fictional dream of the disappearance of modern architecture unravels.