Famous teams have offered artists the perfect platform to design fantasy contexts, suggests Chris Hall
Caligula hurling “states parties ” ,” was how the funk musician Rick James described the famous Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” aspect that they are able to sink from the ceiling when required, there used to be collections of cash in the back chamber, unisex showers and stunts like Bianca Jagger going a pony on the dancefloor led by a naked humankind covered in gold glitter.
The key circumstance about Studio 54, which features in a new exhibit about global guild culture at Vitra Design Museum, was its adaptability. It could become a different fantasy home to act as backdrop for the preposterous dress and theater of the working party goers- such as when four million tonnes light were ceased from the club’s ceiling on New Year’s Eve or when the clothes designer Valentino had a circus-themed birthday defendant with sand and mermaids on trapezes.
” The 60 s and 70 s insured the rise of the notion that you don’t designing a nightclub, you produce the minimal motif points to make a nightclub ,” supposes Catharine Rossi, a blueprint historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical infinite- actually the nightclub is just a receptacle. Clubs are cleared through igniting and sound, psychotropic medications and beings .”
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