And thus was born the 100 Sedie in una Notte series — a true test of style and, ultimately, a manifesto of the object.
As mentioned earlier, all of these chairs are different. Indeed, no two are alike, yet each one bears a very specific character.
Sedia n.1 takes the form of a simple, upright chair. It offers the foundational model that its sisters will borrow.
What follows will be painted black and made of wood.
Yet while color is eliminated throughout the series, the uniqueness of the objects emerges through their form.
Sedia n.2 is the first to demonstrate Paolo Pallucco’s genius.
This chair is described as an “abstract and geometric easel.”
Following it, Sedia n.4 becomes a “fan flaunting itself in space,” while Sedia n.15 mimics the form of two chairs back-to-back, sharing a single cylinder as a backrest.
We might also mention Sedia n.29, bristling with sharp spikes, or Sedia n.37, with biblical connotations, known as the “chair of Calvary.”
One hundred numbers for one hundred wild ideas.
Let us also note Sedia n.42, a “semi-circular chair supported by its own movement.”
Each chair thus explores a universe, which is either religious, geometric, or even formal.
Ultimately, Paolo Pallucco succeeded in his gamble and delivered a bold variation of the object, conceived as a fatal autobiography.
The series was produced in four copies per object, each one signed and numbered.
The 100 Sedie by Paolo Pallucco were offered for sale at the Emilio Mazzoli Gallery in Milan.
The 100 Sedie in una Notte series
In 1990, Paolo Pallucco set himself the challenge of producing a furniture series like no one had ever seen before.
Inspired by the poetry collection Duino Elegies (1912–1922) wrote by the Austro-Hungarian poet Rainer Maria Rilke, Paolo Pallucco conceived this series as his ultimate creation.
Through 100 Sedie in una Notte, the artist crafted, in one hundred different ways, one of the most iconic objects in design: the chair.
This series was dedicated to his partner Mireille Rivier, echoing the poet’s idyllic narrative.
However, the exercise Paolo Pallucco imposed upon himself seemed not so perilous in the number to be produced, but in the time he dedicated to it.
Designing a hundred chairs over the course of a career? Why not. But is it as simple to do it in just one night?
And thus was born the 100 Sedie in una Notte series — a true test of style and, ultimately, a manifesto of the object.
As mentioned earlier, all of these chairs are different. Indeed, no two are alike, yet each one bears a very specific character.
Sedia n.1 takes the form of a simple, upright chair. It offers the foundational model that its sisters will borrow.
What follows will be painted black and made of wood.
Yet while color is eliminated throughout the series, the uniqueness of the objects emerges through their form.
Sedia n.2 is the first to demonstrate Paolo Pallucco’s genius.
This chair is described as an “abstract and geometric easel.”
Following it, Sedia n.4 becomes a “fan flaunting itself in space,” while Sedia n.15 mimics the form of two chairs back-to-back, sharing a single cylinder as a backrest.
We might also mention Sedia n.29, bristling with sharp spikes, or Sedia n.37, with biblical connotations, known as the “chair of Calvary.”
One hundred numbers for one hundred wild ideas.
Let us also note Sedia n.42, a “semi-circular chair supported by its own movement.”
Each chair thus explores a universe, which is either religious, geometric, or even formal.
Ultimately, Paolo Pallucco succeeded in his gamble and delivered a bold variation of the object, conceived as a fatal autobiography.
The series was produced in four copies per object, each one signed and numbered.
The 100 Sedie by Paolo Pallucco were offered for sale at the Emilio Mazzoli Gallery in Milan.
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