“Can he come out? parrichango?” The speaker is Eugenio Gómez Llambi, one of the members of Grupo Bondi, leaders of industrial design in Argentina. He wears a blue jacket with fluorescent trim, like those worn by subway workers, and wears black glasses.
He holds a string of chorizos while Iván Lopez Prystajko, his teammate, sits next to him to pose in front of the lens. Viva in front of the grill they built from a supermarket monkey.
They are located on the façade of Satsch Galleryan elegant gallery in Barrio Norte, where they exhibit (until August 16) their new works under the curatorship of Feda Baeza.
hyperpainting consists of a series of nine unique collector’s pieces, created from a curious technique which they discovered almost by chance while investigating the Mogno metallurgical plant, located in the La Matanza district.
Objects exhibited in the Hiperpintura exhibition. Photo: Mariana Nedelcu.“It is huge, with an industrial warehouse, robots. Very technical. There we discovered that they have like a big carousel where they hang pieces that they paint. They left four meters for us where we hung these pieces and More than 300 layers of paint were applied to them. That caused paint to become a material in itself.”
This is how these pieces are born that are also functional – tables, lamps, chairs – and expand the work horizon of this peculiar duo that oscillates between experimentation and popular.
His works constantly dialogue with the era. In fact, many will have come across their creations on some path without knowing it: they designed and installed Capitoné cement benches that are scattered throughout various corners of the City of Buenos Aires.
Before the opening of this exhibition, they wallpapered the city with posters that say “Long live the Argentine Industry, damn it!” in reference to the current president’s catchphrase. “It seemed important to us to make that statement since it shows that this administration does not care much about national production, it is more globalizing and pro-market,” they point out.
– The exhibition is accompanied by sounds and a video that, in some way, refer to the factory. How did you think about the concept?
– We were always interested in that world. We went with the entire gallery team, the curator, Julián Camps who made the sound and Ramiro Birriel who recorded and then made the video. It was a flash. It is an SME, a family business, in the suburbs. That is also why the posters of “Long live the Argentine Industry, damn it.” We are very interested in the gap between the artisanal and the super-technicalthose intersections between heavy industry, design, crafts and plastic arts.
– Regarding these posters, the phrase obviously refers to President Milei. Why did they choose it?
– It is like a declaration of principles that we are making from heavy industrial or mass, serial production. It goes without saying that the current management does not care much about national production, it is more globalizing and pro-market. It does not follow a production and “Buy national” strategy. Rather the complete opposite. Also for a matter of facts: we saw the Mogno metallurgical company lower its production as we were making the pieces. It’s something you see. It is not just a speech but something that is happening. SMEs, large, small and medium-sized national industries handle a level of romanticism in their production that seemed to us something to claim. So, in the face of this discourse where nothing matters, the market is going to dictate everything, whoever melts down, melts down, gets screwed because someone from outside makes it cheaper we say: no, long live the Argentine industry, damn it. Also taking his speech and transgressing it seems to us to be a good way to wet your ears a little. I mean, What they want to do is not so easy. We are not going to let them. We got a sponsor from a company that has billboards on public roads and we managed to carry out this campaign that became another work. It is happening and it will continue until the end of the show.
The Bondi, with some of their creations from the Hiperpintura exhibition. Photo: Mariana Nedelcu.– The pieces are functional and, at the same time, unique. How do you think about the question of what is functional, what is useful or what is useless in design?
– This exhibition revolves around that. We like to tighten the rope between the functional piece, the design piece, and the entire universe that is adjacent. We can call it artistic or poetic, it goes beyond the tangible. This is trying to make art, trying to understand or investigate a little more. Our training is in industrial design at the UBA and we are interested in using everyday objects as artistic support. So we make a bank and we are interested in making it work. That small space, between the industrial and the artistic, really seems enormous to us, interesting to work with. We believe that consumer products have a very big arrival.
-In the case now of hyperpaintingwhat is the concept?
-It has to do with finding something that was there but that no one was seeing. It is related to our search about processes and materials. Here we realized that the factory hung pieces on hooks, these filled with paint and stopped working. transmit static current what they need for the paint to stick. Then they were no longer useful and they threw them away. That error, in quotes, was something that we found interesting to work on. It is seeing what is happening and that maybe no one is paying attention to it.
– Going back a little to the history of the group, many know them for the Capitoné benches, a symbol of the city that has been installed for fifteen years. How do you see them today?
– For us, they are a quite powerful work. Things changed, we changed too, the banks are still there and will be there for a long time. They are a kind of design classic and are probably one of the best-known pieces of Argentine design at a transversal level. They are a very iconic and controversial piece. Like the avant-garde that is not usually accepted at the moment. Time is settling things. The work is not the bank itself, but that there are 300 of them on the street and that the lady who lives on the corner from my house or around the corner knows them and loves them or hates them. Let memes be made all the time. They are like an icon. More than for sitting, it is made for thinking about sitting. Suddenly, another world appears. Time dilates. New images appear. That’s art for us.
-What are the breakups that interest you the most?
– Make a small crack in the established, in the status quoin what is expected from a piece, from a design studio. Tense the rope. We do it all the time. For example, with hyperpainting We are not just talking about material experimentation: we put time optimization in crisisproductive time in design. You always have to optimize and this extended time thing, that we put the robot to paint for three and a half months, calls that into question. It’s not just like banks that look like one thing and are another. Even the banks don’t just talk about that: it is a French-style bank located in Buenos Aires, which is the Paris of Latin America. It has several layers.
– They work a lot with the popular. How do you understand it?
– We can’t help it, it’s not that we have intentionality. It is a need that arises or something that excites us, it passes through us and happens. The same as thinking about a city like Buenos Aires, with a tendency towards globalization.
-How do you see the City of Buenos Aires today in terms of design and urbanism?
– We have this thing of always looking outside as if that were better for himself. We are interested in looking here. The same thing happens with this work. This factory, with this delusional mechanism, is here. It has nothing to envy of any other factory in the world. It is part of our ideology. As Federico Manuel Peralta de Ramos said: I like it here, I don’t want to go to the Moon, I like it here.
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