Famous clubs have offered artists the perfect scaffold to design fantasy environments, says Chris Hall
Caligula hurling “states parties ” ,” was how the funk musician Rick James described the famed Studio 54 in New York, which opened in 1977. There was a cocaine snorting” Man and the Spoon” feature that would condescend from the ceiling when required, there were accumulations of cash in the back area, unisex lavatories and stunts like Bianca Jagger journeying a horse on the dancefloor led by a naked gentleman taken into consideration in gold glitter.
The key thing about Studio 54, which features in a brand-new exhibit about global fraternity culture at Vitra Design Museum, was its adaptability. It could become a different fiction home to act as backdrop for the ridiculous attires and theatre of the party goers- such as when four million tonnes shimmer were drooped from the club’s ceiling on New Year’s Eve or when the clothes designer Valentino had a circus-themed birthday party with sand and mermaids on trapezes.
” The 60 s and 70 s examined the rise of the notion that you don’t design a nightclub, you produce the negligible intend ingredients to make a nightclub ,” says Catharine Rossi, a intend historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical opening- genuinely the nightclub is just a container. Clubs are constructed through lighting and sound, psychotropic medicines and people .”
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