Milan Design Week
Raw, black coals cover the floor of the exhibition space. Together, the crude stones form a landscape; an irregular field with an idiosyncratic relation to the location. The coals – with their massive materiality, subtle hues of black and their ability to both absorb and deflect environmental luminosity – engage in a relationship with the tonality of the emotions, with the stratification of the mind. This black landscape is regularly interrupted by plateaus – support bases for the individual designs. They play with the architecture of the environment, create intermediate spaces and shades, rhythms and counter rhythms.
Furthermore, the coal attaches itself to history and shows the way in which elements transform into something new throughout time. At the same time, it refers to the way in which it has influenced Belgium’s industrial past as a resource. And yet it is, first and foremost, an ode to the beauty of untreated, primary materials.
The scenography delineates a (thinking) space and defines an atmosphere of contemplation and stillness, of devotion to matter and time. The tight geometry of the pedestals – the architectural organization which communicates with the wider environment – guides the concentration and gaze of the spectator. The works he encounters are always a combination of existing and new work, of realized and planned concepts. They mirror six individual creative practices which coincide in part – in this case, explicitly.
Between Art & Design, the Belgian Scene
Kanal Centre Pompidou
These grounds on which we walk – those accumulating layers of history, generously echoing past presences and forces – contain the stories we continue today. They are the fundaments, both material and immaterial, for the decisions we are to make, the steps we are to take. They teach us of prior times and cultures, they conceal and reveal, nourish and support. Towards this year’s presentation in Milan, BRUT chose Bodem(soil) as the theme of their second collective scenography and as a motive for the individual designs and concepts.
The dusty charm of an archaeological site – a context where (pre-)history, actuality and future findings meet – inspired the concept and appearances of the setting. With their earthly tones and textured surfaces, the separate plateaus and pedestals refer to the negative spaces which appear, when artefacts and architectural remains are gradually re-surfaced; an abstraction of an archetypical image that corresponds with how forgotten or lost things and memories are brushed back to light. To substantiate this inspiration BRUT studied Teseum in Tongres, Belgium’s oldest city, where the remains of a Roman settlement are being excavated. There, they also found the colours and rhythms which now define this scenography.
Milan Design Week