{"id":744260,"date":"2025-10-15T13:26:44","date_gmt":"2025-10-15T11:26:44","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/pad-london-what-to-expect-from-the-new-edition-of-the-fair\/"},"modified":"2025-10-15T13:30:39","modified_gmt":"2025-10-15T11:30:39","slug":"pad-london-what-to-expect-from-the-new-edition-of-the-fair","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/design-en\/pad-london-what-to-expect-from-the-new-edition-of-the-fair\/","title":{"rendered":"PAD London: What to expect from the new edition of the fair?"},"content":{"rendered":"\n
\"Luigi,\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Luigi, O Mi Amate Voi<\/em> modular bookshelf (1982) by Gaetano Pesce (Bernini edition). Painted beechwood and metal, 213 x 205 x 48 cm. Presented at the Pulp Galerie stand. \u00a9 Narophoto. Courtesy of Pulp Galerie.<\/figcaption><\/figure>\n\n\n\n

Design star Gaetano Pesce exhibited at PAD London<\/h2>\n\n\n\n

Gaetano Pesce<\/strong> made a comeback on the fashion scene in 2022, barely two years before his passing. Matthieu Blazy<\/strong><\/a>, then creative director of Bottega Veneta<\/strong>, invited him to design 400 chairs for his show. The set was later sold at Design Miami<\/strong>. As the leading figure of Italian and global design, Gaetano Pesce quickly stood out for his use of unexpected colours and his deliberately imperfect, random, and unpredictable designs at the opposite of the growing wave of uniformity.<\/p><\/p>\n\n\n

For its first participation at PAD London<\/strong>, the Parisian gallery Pulp Galerie<\/strong> is offering a monographic exhibition devoted to the designer who made a lasting impression with the voluptuous shapes and vivid red colour of his Big Mama<\/i> armchair<\/strong> in 1969 – originally titled Up (5 and 6)<\/i>. But also with the anthropomorphic forms of his Nobody\u2019s Perfect<\/i> series (2002), which also lent its name to his solo exhibition that same year at the Mus\u00e9e des Arts D\u00e9coratifs in Paris, after the one held in 1975.<\/p>\n\n\n

Thereby, Pulp Galerie is presenting a selection of magnificent historical pieces. That includes the Sick (or Sikh) Cabinet<\/i> created in 1995 for the exhibition Le temps des questions<\/i> at the Centre Pompidou. There is also the modular<\/strong> Luigi<\/i> bookcase<\/strong> from 1982, made of six vertical beech elements with hand-painted panels that can be turned into shelves. Not to forget the Nobody\u2019s Perfect<\/i> dresser<\/strong> from 2002.<\/p><\/p>\n\n\n\n

\"Horsph\u00e8re\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>

Horsph\u00e8re Bois (III)<\/i> [1967] by Jean Degottex (from Galerie Jean Fournier, Paris). Oil and scratching on panel, 120 \u00d7 80.4 cm. Below: console (1902) by Carlo Bugatti. Black-lacquered wood, leather, metal, and bone inlay, 70 \u00d7 116 \u00d7 70 cm. Set presented on the Sceners Gallery stand. \u00a9 Courtesy of Sceners Gallery.<\/p><\/figcaption><\/figure>\n\n\n\n

Sceners Gallery joins the 2025 edition<\/h2>\n\n\n\n

Another newcomer, the young Parisian gallery Sceners Gallery<\/strong>, unveils a rich dialogue between painter Jean Degottex<\/strong> (1918-1988) and designer Carlo Bugatti<\/strong> (1856-1940). \u201cIn this installation, the fluid movements of Jean Degottex meet the meticulous stillness of Carlo Bugatti\u2019s crafted forms<\/i>,\u201d the gallery explains. \u201cDegottex\u2019s traces suggest movement as thought, or perhaps a handmade silence. Bugatti, by contrast, composes weight – metal, wood, marquetry. Ornament is architecture and form, a ritual. What links them is not style, but intention, the desire to distil, to approach the essence through a line or an object. It is not a meeting of opposites, but of two distinct precisions searching next to each other. A shared gravity, expressed differently<\/i>.\u201d<\/p><\/p>\n\n\n\n

<\/div>
<\/div>
<\/div><\/div><\/div>
<\/div>
<\/path><\/g><\/g><\/g><\/svg><\/div>
Voir cette publication sur Instagram<\/div><\/div>
<\/div>
<\/div>
<\/div>
<\/div><\/div>
<\/div>
<\/div><\/div>
<\/div>
<\/div>
<\/div><\/div><\/div>
<\/div>
<\/div><\/div><\/a>

Une publication partag\u00e9e par Friedman Benda (@friedman_benda)<\/a><\/p><\/div><\/blockquote>