KONSTANTIN GRCIC’S MIURA TURNS TWENTY

That similar lack of cynicism and quiet sense of pleasure runs by each the objects and the images themselves. “I remember living with dozens of Miura stools in my small apartment on Spring Street for weeks,” Böhm remembers, “feeling a bit like a dog sitter, taking the stools out for a walk every day.” They shot 1000’s of photos throughout New York, injecting the chairs into the city panorama, roaming the town with a trolley and staging small, summary interventions to disrupt pedestrian circulate. Unexpected moments adopted — serving to window cleaners on Broadway attain larger home windows, improvising scenes in Brooklyn, even assembly Elmo from Sesame Street. “Looking back, it was a rare moment of complete creative freedom — playful, improvised, and free from external pressure or social-media expectations,” Böhm remembers. “What began with almost nothing became one of my most productive projects.”

Today, Grcic stays as energetic as ever: inventive director of Mattiazzi, growing his personal line 25kg, and persevering with collaborations with manufacturers together with BD Barcelona, Flos, Kettal, Laufen, Magis, Muji, and Vitra. And but Böhm’s pictures from twenty years in the past reveal simply how totally Grcic’s strategy has already seeped into the mainstream — so totally, in truth, that its lineage is not all the time acknowledged. “Florian’s photographs evoke a gentle yearning for the ease and freedom of that era,” Grcic displays.