www.pedrofriedeberg.com/
doorofperception.com/2016/03/pedro-friedeberg/
Jodorowsky arhitekture, stolica i dizajna.
Sve je to bijeg od dosade.
I get up at the crack of noon and, after watering my pirañas, I breakfast off things Corinthian. Later in the day I partake in an Ionic lunch followed by a Doric nap. On Tuesdays I sketch a volute or two, and perhaps a pediment, if the mood overtakes me. Wednesday I have set aside for anti-meditation. On Thursdays I usually relax whereas on Friday I write autobiographies”
- Pedro Friedeberg
vimeo.com/search?q=Pedro+Friedeberg
I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.
My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.
I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.
I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.
Americans do not understand Mexicans and viceversa. Americans find Mexicans unpunctual, they eat funny things and act like old-fashioned Chinese. When André Breton came to Mexico he said it was the chosen Country of surrealism. Breton saw all kinds of surrealist things happen here every day. The surrealists are more into dreaming, into the absurd and into the ridiculous uselesness of things. My work is always criticizing the absurdity of things. I am an idealist. I am certain that very soon now humanity will arrive at a marvelous epoch totally devoid of Knoll chairs, jogging pants, tennis shoes and baseball caps sideway use, and the obscenity of Japanese rock gardens five thousand miles from Kyoto.
I get up at the crack of noon and, after watering my pirañas, I breakfast off things Corinthian. Later in the day I partake in an Ionic lunch followed by a Doric nap. On Tuesdays I sketch a volute or two, and perhaps a pediment, if the mood overtakes me. Wednesday I have set aside for anti-meditation. On Thursdays I usually relax whereas on Friday I write autobiographies”
Apart from Pedro Friedeberg’s non-fictional architectural fantasies, he began producing furniture that rejected the predominantly international style of architecture and design that was being taught in Mexico. After designing his first chair, Friedeberg went on to design tables, couches, and love seats. This body of work, along with Friedeberg’s obsessively crowded and meticulously detailed canvases, often included references to Tantric scriptures, Aztec codices, Catholicism, Hinduism, and symbols of the occult. Although his paintings, filled to overflowing with surprise, were sometimes described as examples of Surrealism or fantastic realism, they are not easily definable in terms of conventional categories. He used architectural drawing as the medium through which he created unusual compositions and also designed furniture and useless objects, admitting that his artistic activity was rooted in boredom. This sense of irony and surfeit imparted to his pictures, through the hallucinatory repetition of elements, an asphyxiating formal disorder. Friedeberg’s work is a product of highly conscious, if not self-conscious, thought.
Text taken from Friedeberg’s website
In conversation with Pedro Friedeberg | Christie's
interview with artist pedro friedeberg - Designboom
Juxtapoz Magazine - Surreal Work by Pedro Friedeberg
Pedro Friedeberg, sculptor of mythologies - Aleph - Faena Hotel
Apart from Pedro Friedeberg’s non-fictional architectural fantasies, he began producing furniture that rejected the predominantly international style of architecture and design that was being taught in Mexico. After designing his first chair, Friedeberg went on to design tables, couches, and love seats. This body of work, along with Friedeberg’s obsessively crowded and meticulously detailed canvases, often included references to Tantric scriptures, Aztec codices, Catholicism, Hinduism, and symbols of the occult. Although his paintings, filled to overflowing with surprise, were sometimes described as examples of Surrealism or fantastic realism, they are not easily definable in terms of conventional categories. He used architectural drawing as the medium through which he created unusual compositions and also designed furniture and useless objects, admitting that his artistic activity was rooted in boredom. This sense of irony and surfeit imparted to his pictures, through the hallucinatory repetition of elements, an asphyxiating formal disorder. Friedeberg’s work is a product of highly conscious, if not self-conscious, thought.
Text taken from Friedeberg’s website
In conversation with Pedro Friedeberg | Christie's
interview with artist pedro friedeberg - Designboom
Juxtapoz Magazine - Surreal Work by Pedro Friedeberg
Pedro Friedeberg, sculptor of mythologies - Aleph - Faena Hotel
