Famous golf-clubs have offered artists the perfect programme to design fantasy media, says Chris Hall
Caligula throwing a party ,” was how the funk musician Rick James described the famed Studio 54 in New York, which opened in 1977. There was a cocaine snort” Man and the Spoon” peculiarity that they are able to condescend from the ceiling when required, there are still mounds of cash in the back area, unisex bathrooms and stunts like Bianca Jagger riding a pony on the dancefloor led by a naked soldier covered in gold glitter.
The key thing about Studio 54, which is available in a brand-new show about world-wide fraternity culture at Vitra Design Museum, was its adaptability. It could become a different fantasy milieu to act as backdrop for the outrageous garbs and theatre of the party goers- such as when four tonnes of glitter were sagged from the club’s ceiling on New Year’s Eve or when the fashion designer Valentino had a circus-themed birthday party with sand and mermaids on trapezes.
” The 60 s and 70 s insured the rise of the idea that you don’t layout a nightclub, you bring the negligible blueprint ingredients to make a nightclub ,” says Catharine Rossi, a pattern historian at Kingston University, who has co-curated the exhibition.” What’s important is not the physical seat- genuinely the nightclub is just a container. Clubs are made through igniting and sound, psychotropic stimulants and parties .”
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