Triennale Milano continues the series dedicated to the new international design in the MINI & Triennale CreativeSet offering an unprecedented selection of the most interesting works of contemporary Indian designers.
New India Design has the complexity of a context, a landscape, which has dominated their interrelationship and the ontinuous queries on the project rather than the fixity of identity and national figures in themselves concluded, as the masters of past generations.The young designers selected, permeated by the cultural matrix of India and its culture, though very different from the western thinking; through their design projects propose projects that live in a delicate balance between innovation and tradition.
Often it is the mythical contents to be replicated, with some irony, in common objects (for example, in Mr. Prick of Sandip Paul, Lotus pieces of Sahil and Sartak, Cheerharan Toilet Paper by Divya Thakur, in Cut.ok.Paste Mira Malhotra, Hanuman T-shirt Lokesh Karekar, dress of Manish Arora, in Varanasi Cows of Kangan Arora) to show the ancient and the modern, the sacred and the profane are mixed in a whole is not immediately decodable (for non-Indians), bringing in the daily contents with profound implications, in the global era, almost therapeutic.
The difficult challenge since the most common objects and traditional India have a coefficient of modernity, functionality, and aesthetics is difficult to overcome or reinterpret innovating some types or using some common objects such as semi-finished products to create your own (the Choori Lamp by Sahil and Sartak, the clothes Aneeth Arora, the lettering of Hanif Kureshi, jewelry Shilpa Chevan). In the objects on display are also replicated some imaginary of an India less media, which displays a comparison of different social realities, in which we look with acceptance, which takes shape, more or less unconscious, in other objects almost surreal as the Bori Cycle Throne by Gunjan Gupta, and among these comparisons could not miss a post-colonial re-enactment of the relationship India-England (the lettering Englishes of Geetika Alok).
The practical needs of life in the villages that make up the majority of India not urban inspired design like the so-called barefoot washing machine with pedals (Reyma Jose) and the structure of bamboo for the loading and transport of weights on his shoulders (Dinubhai Vikram Panchal), make the difference in terms of quality of life in itself difficult. But the design is often in dialogue with the refined craftsmanship in a rural region to redesign the traditional objects (the bamboo furniture design by Sandeep Sangaru and Andrea Norohda, projects Garima Aggarwal Roy, Flying bird and the Singing Leaves of Rajiv Jassal , the Natural dishes Sanders and Kandula, the bicycle bamboo design anonymous) and encourage small local economies (the Bamboo Cubes of MP Ranjan, the Chitku works Priyanka Tolia).
The urban India instead is technological, which is characterized more for the development of processes and semi-finished products for the design, is almost an alter ego in artistic works Padmaja Krishnan (Excess Mobile Wood and Pc) and Ranjit Makkuni (designer of sophisticated interactive installations that connect us with the sacred).
India in design, it is thus, difficult classification of design and is very unique to its tradition but also decipherable. Designers who remain with the intent to change things (in the absence of many production companies are self-made in small series), who return after long periods of training and working abroad. A landscape, the Indian designscape, rich, and through the different sections of dialogue between modernity and tradition, can produce new content for a global company always in progress and for this reason it is always in search of their ancestral roots.
Blogged by Amal Kiran Jana from Milan at 5.30 A.M
