“I’m co-directing with Sandra Hillar this space for a year. She is the founder and promoter of Satsch Gallery, a super fundamental place to promote new contemporary creators and work on collectible design. We are also dedicated to rescuing historical pieces,” he says. Wustavo Quiroga at the inaugural event.
“We have a warehouse in La Estrella, in Paternal (where the gallery previously operated), but we wanted to get closer to this more museum-like area and do the samples specifically here,” describes Hillar, who started Satsch Gallery in 2021, with an exhibition called Indiscipline. “The idea was to begin to occupy the spaces that remained between design and art and be able to play with this novelty,” he adds.
Con Hiperpintura, the exhibition by Grupo Bondi (from industrial designers Ivan Lopez Prystajko and Eugene Gomez Llambi), the gallery officially opened its doors at Juez Tedín 2914, Barrio Parque.
The first sample In this new headquarters it exhibits a collection of experimental furniture created using a material technique from baked paint. The result is a series of utilitarian sculptures that are born from a game between art and design.
hyperpainting
“It came up last year, or maybe before, during a visit we made to the factory Mahogany, which produces electrowelded rods for refrigerators. The painting machine is a kind of conveyor belt that uses hooks that were developed for the smaller pieces but that after a while fill up with paint and are discarded,” López Prystajko begins.
With this material, which represented a problem for the factory, “we developed these pieces of round pipe of two diameters that are cut, welded together and then hung on that tape for three months. With which they accumulated more than 300 layers of paint”.
With the new materiality that was being generated, unique and unrepeatable, Grupo Bondi began to produce the new pieces.
“Son random volumes, difficult to project. When we took them off the belt we took them to another workshop where we painted them with a different tone. Then, we polished them and white began to appear, which is the color they had mostly painted with before. They start to appear colored layers underneath that give a play of organic lines,” explains the designer.
“The Hiperpintura series is the result of a accident-based technique and amplification of productive time (…) The Bondis stopped at the hangers, which after months of continuous use, were discarded. In their accidents, their folds, the way they spill out and build a volume. A volumetric painting. Based on the discovery of this new technique, they designed an edition of furniture made up of unique pieces,” says the curatorial text of Federica Baeza.
The exhibition has the collaboration of the video maker and film director Ramiro Birrielthe musician Julian Camps and the photographer Day cucumberwho contribute to the creation of a visual and sound environment that complements the collectible pieces.
“We wanted to open with Bondi Group because they have a very Argentine languagethey appeal to the national and today we need to be more industrial than ever because we are at a pivotal moment,” summarizes Hillar, for whom in this social, cultural and political context giving space to current designers means “taking a position.”
On the upper floor of Satsch Gallery’s new home there are treasures from the permanent collectionmade up of emblematic historical pieces by Walter Loos, Antonio Bonet, Amancio Williams, Lucrecia Moyano, César Jannello, Colette Boccara, Ricardo Blanco, Alberto Churba, Luis Casnati and Luis Quesada, Reinaldo Leiro and Arnoldo Gaite, among others.
The permanent collection shows the avant-garde spirit that marked the scene between 1930–1970. “By putting together my own collection I started doing a little design archeology. I went looking and when I found it I asked myself: now what do I do with all this,” says Hillar, a designer specialized in conceptualization and development of comprehensive projects. “I felt that there was a lack of space to represent contemporary designers and articulate all times, historical and current, to be able to project ourselves from there,” she closes.