UNRESOLVED, 2020
Collaboration:
GeoVanna Gonzalez
Jonathan Gonzalez
Materials:
Aluminum, steel, acrylic glass, neon and leather
Dimension:
variable dimensions
Shows:
Design Miami, 2020
Collaboration:
GeoVanna Gonzalez
Jonathan Gonzalez
Materials:
Aluminum, steel, acrylic glass, neon and leather
Dimension:
variable dimensions
Shows:
Design Miami, 2020
During the year 2020, many of us had been forced to
restructure our domestic spaces into work/living
realms. And we had to adapt not just our
physical space, but our mental space too. Our sleep
cycles, our time management, our leisure periods – all
have been confined, all have been reprogrammed. The
boundaries between work and leisure, between labor
and rest, between public and private, are more
compromised than ever.
Gonzalez & Gonzalez’s UNRESOLVED collection
explores how design and art are complicit in that
reprogramming, and how they can act as tools of
resistance. The ur-object of each piece in the
collection is a tool of creative labor. The iconography
is derived from forms that are understandable to
everyone (ladder; flood light; table; bench). The new
readings offered by Gonzalez & Gonzalez, their
reprogramming of these recognizable objects, merges
the iconic formal qualities of the “original” objects
with concepts relating to the precarity of creative labor.
The collection makes visible the ways in which
tools and programs (from pencils to screens, chairs to
software) are used to firmly resolve and repose us, to
sit us down, to tie us to capitalist function.
restructure our domestic spaces into work/living
realms. And we had to adapt not just our
physical space, but our mental space too. Our sleep
cycles, our time management, our leisure periods – all
have been confined, all have been reprogrammed. The
boundaries between work and leisure, between labor
and rest, between public and private, are more
compromised than ever.
Gonzalez & Gonzalez’s UNRESOLVED collection
explores how design and art are complicit in that
reprogramming, and how they can act as tools of
resistance. The ur-object of each piece in the
collection is a tool of creative labor. The iconography
is derived from forms that are understandable to
everyone (ladder; flood light; table; bench). The new
readings offered by Gonzalez & Gonzalez, their
reprogramming of these recognizable objects, merges
the iconic formal qualities of the “original” objects
with concepts relating to the precarity of creative labor.
The collection makes visible the ways in which
tools and programs (from pencils to screens, chairs to
software) are used to firmly resolve and repose us, to
sit us down, to tie us to capitalist function.