Fondazione Prada
25 June 2015
12 November 2015
From March 22 to August 21, 2016, Mad in New York will devote a staff to Studio Job, the designer/artist duo Job Smeets (Belgian) and Nynke Tynagel (Dutch), known for their virtuous works that walk the line between surrealism and magic. Going beyond unpredictable subjects, which include King Kong hugging the Burj Khalifa or a monkey, wearing red kepi, perched on top of a treasure chest lid, the sense of amazement is derived from the perfection and obsessive, meticulous attention to detail in their work. In their laboratory, filled with cumbersome machinery, Job and Nynke chisel their projects like modern-day Cellini, with the help of their skilled artisans, constructing a varied repertory that possesses the unpredictable magic of fairy tales. Their work is deliberately provocative and interdisciplinary, making it difficult to classify within contemporary parameters.
WHERE: Mad Museum, New York
From March 22 to August 21, 2016, Mad in New York will devote a staff to Studio Job, the designer/artist duo Job Smeets (Belgian) and Nynke Tynagel (Dutch), known for their virtuous works that walk the line between surrealism and magic. Going beyond unpredictable subjects, which include King Kong hugging the Burj Khalifa or a monkey, wearing red kepi, perched on top of a treasure chest lid, the sense of amazement is derived from the perfection and obsessive, meticulous attention to detail in their work. In their laboratory, filled with cumbersome machinery, Job and Nynke chisel their projects like modern-day Cellini, with the help of their skilled artisans, constructing a varied repertory that possesses the unpredictable magic of fairy tales. Their work is deliberately provocative and interdisciplinary, making it difficult to classify within contemporary parameters.
The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.