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“Seats System” is made out of three categories of profiles and three different degrees of the same circle: this piece is A180°.
A furniture collection whose repetitive construction, durable material choice, and social focus lay a foundation for frequent usage as well as timeless design. With an ability to orchestrate shadow plays and pieces with no dedicated front or back, “Seats System” is intended to bring a sense of flow to its surroundings. All pieces in the system are modular and can be integrated with each other to meet the functional and aesthetic needs of a certain space – which brings the consumers creativity to life.
“Seats System” is designed by the artists and designers Josefin Zachrisson and Mira Bergh. The Stockholm-based duo have entered the interior industry to challenge conformist thinking and unsustainable conditions of production.
The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented.
How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure?
How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment?
Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference?
The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.
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