heavy metal chairs
The title Heavy Metal Chairs refers to the physical weight, the music genre and its emotional state as the parts playing a role in the making of the project. The word heavy is in contradiction to the lightness of the carbon material while representing the music genre of the two songs that accompany the show and the burdensome mood that characterises Heavy Metal music in opposition to a more comforting mindset of object design.
Conversely to what the name suggests, the structure of the heavy metal chairs is built of carbon fiber material, giving them mechanical strength and allowing lightness and extreme thinness. Their weight ranges from 1,6 to 2,2 KG. The parts covered with paper and finished with colored resin reminiscent of corrugated cardboard makes the chair unreal; the encounter with the object as a result is loaded with disbelief. Broken lines imbedded in the drawing induce the impression of collapsing. The chairs seem to be hand drawings, and so not possible for seating.
For this project the poet Coco Fitterman was invited to write the lyrics of two songs A design object nestled somewhere in time and You make my life easier I make your death Swift ]in which she addresses the chairs with hostile energy, an adverse mood against design and the realm of objects. (Your furniture disgusts me / Fuck your chair / Mortal fools / To live is to suffer ). The lyrics were put into music by Berlin band 100 000 Tonnen Kruppstahl (100 000 Tons of Krupp Steel︎). Both songs set a context for the chair to exist. Something for themselves and against themselves synchronically in which they stand while collapsing.
Heavy Metal Chairs intersects the design object and the downcast mood of heavy metal music. The disposition of heavy metal, pain, nightmare, guilt and suffering, meets the optimistic mood of design, projection, problem solving, pride, status; a mindset that makes the object enviable and its place in life possible. As the emotional state of the heavy metal goes, the object as often the self seems loaded with detestation, it cannot be wished for, thus giving room to a world of abjection. One offers a position in the world as the other withdraws from it. The making process establishes and undergoes conflicting energies.