Debout les meubles !
Anthropomorphic Design from the 1980s to the 2000s
June 4 – July 18, 2026
30 rue de Seine, 75006 Paris
For this thematic exhibition, Pulp Galerie transforms its space at 30 rue de Seine into a true hub of creativity. The selection is anthropomorphic and full of humor: a true paradise for children, who will discover a playful form of art, an art that can finally be touched and laughed with.
Through a selection of works by Gaetano Pesce, Nicola L, Alessandro Mendini, Mario Botta, Carlo Forcolini, Pucci de Rossi, Gérard Dalmon, Tom Dixon, Radjar Coll-Part, and Jacques Jarrige, the gallery creates a playful journey, faithful to its taste for radical and expressive forms.
Playful and dynamic objects, in the image of human beings!
Anthropomorphism has fascinated artists for millennia. This approach consists in attributing human characteristics to objects, whether through their overall form or specific details. Through this process, objects seem to come to life, adopting an attitude, a gaze, and a personality of their own.
Eye Lamp (1989)
Nicola L.’s Eye Lamp depicts a close-up of a green iris, animated by a functional eyelid.
Both sensual and expressive, the work is enhanced by a vivid touch of color and rests on an imposing oxidized metal base. On its own, it perfectly embodies the spirit of Pulp Galerie.
The Nobody’s Perfect Series
A significant group of works from Gaetano Pesce’s Nobody’s Perfect series will be brought together for the occasion. Conceived in the 2000s with the editor Zerodisegno, this collection asserts that perfection does not exist and that irregularity fully contributes to the beauty of objects. Made of polyurethane resin, the pieces are distinguished by their free forms, vivid colors, and fluid textures, giving rise to furniture that appears almost alive.
Among them is a bed depicting two lovers kissing, transforming the headboard into an intimate and sensual scene; a chair from the Il Rumore Del Tempo collection; a polychrome cabinet in blue and red tones echoing the outline of a face; as well as two bookcases created in 2002, which also reflect the formal freedom so dear to the artist.
Milo Lamp (1992)
In Alessandro Mendini’s work, anthropomorphism intertwines with the Memphis universe. Through its vertical silhouette and lampshade pierced with two eyes, the Milo Lamp takes on the appearance of a stylized character, somewhere between a soldier and a totemic figure. Its soft tones and simple forms give it a presence that is both playful and distinctive.
Robot Cabinet 619 (1989)
Alongside these major pieces, the exhibition also features Mario Botta’s Robot 619, a small domestic figure composed of stacked drawers. Behind this almost animated silhouette unfolds an ingenious piece of furniture that translates into design the architectural principles dear to Botta: verticality, geometric rigor, and a strong sense of structure.
At the back, a true spinal column supports the entire piece. As the drawers are opened, it creates a subtle cantilever effect, transforming the cabinet into a living construction.
Pas cap’ de s’asseoir Chair (1986), King & Queen Chairs (1986), Sarah Chair (1986), Eve Lamp (1993)
Also featured is Radjar Coll-Part’s Pas cap’ de s’asseoir chair, whose seat and backrest, made from X-rays of the human body, introduce a direct anthropomorphic dimension, where the body quite literally appears within the object.
Tom Dixon’s King and Queen chairs, composed of reclaimed metal elements assembled in a deliberately raw manner, enter into dialogue with Gérard Dalmon’s Sarah chair, whose soft curves recall the posture of a human body.
Jacques Jarrige’s Eve Lamp completes the ensemble, its base subtly evoking the shape of a female torso. Between humor, anthropomorphism, and experimental assemblages, these works give furniture an almost theatrical presence.
A Paradise for Children
The world of art is not reserved for adults. This exhibition invites children to awaken their senses through furniture dating from the 1980s to the 2000s.
Far from the silent museum, where children are often unable to fully express themselves, Pulp Galerie has imagined an exhibition designed for them, bringing together playful and surprising pieces of furniture.
Lamps with expressive gazes, intertwined beds, furniture with human faces, and totemic forms become companions for the imagination.
As always, Pulp Galerie reminds us that an object can be far more than a function: it can be a source of emotion, smiles, and encounters.
