Designer Marco Dessí re-interprets the Salon Cabinet by Dagobert Peche (Wiener Werkstätte). An intervention at Wien Mitte The Mall on occasion of the new installation of the permanent collection VIENNA 1900 Viennese Arts and Crafts, 18901938.At the time around 1900, when Vienna with its appr. 2 million inhabitants was the fourth largest city in the world right after
New York City, London, and Paris, it was the center of far-reaching cultural, scientific, and socio-political developments.
Famous names like Sigmund Freud, Josef Hoffmann, Gustav Klimt, Adolf Loos, Arthur Schnitzler, Otto Wagner, and last but not
least the Wiener Werkstätte collective represent are synonymous with the heyday of Viennese Modernism, when also the arts
and crafts took on a leading role. The highlights of this time (18901938), its forerunners, sources of inspiration,
its implications, and its offshoots are now on view at the MAK in the first phase of the reinstallation of the permanent collection
VIENNA 1900 Viennese Arts and Crafts from 18901938 (till 17 March 2013).
VIENNA 1900 inspires
MAK on display Marco Dessí: Dagobert Peche Revisited, 1913/2012
From left to right: Josef Hoffmann and Fritz Waerndorfer with the first silver object produced by the WW (Mod. Nr. S 1), 1903; Dagobert Peche, Portrait; Josef Hoffmann (18701956), Table for the Living Room of Dr. Hans Salzers Residence, Vienna, 1902, Execution: unknown. Wood, maple, stained black, matte polished; marble.Vienna 1900 and the achievements of this period in the field of modern design still are a source of inspiration for many everyday
objects, furniture, and architecture even today. For MAK on display the young designer Marco Dessí reinterpreted the Salon Cabinet for a Reception Salon (1913) by Dagobert Peche in his own aesthetics. Having thoroughly studied Peches piece of furniture Dessí worked out
its characteristics that make it so extraordinary and exciting and created a free transformation of the cabinet as it would
perhaps be designed and produced today, almost 100 years later.Dagobert Peche, one of the directors of the Wiener Werkstätte since 1916 and mastermind of many of the famous designs of the
Wiener Werkstätte, rejected the principle of minimalist reduction that prevailed at the time and celebrates imagination. The
original black stained, pear wood cabinet with gilded ornaments appears like a three-dimensional pattern for a wall papera
seemingly two-dimensionally conceived piece of furniture with idiosyncratic proportions, a massive corpus on eight delicate,
virtually prancing legsan inevitable eye-catcher. The wallpaper design The Reed II (1922) by Dagobert Peche serves as background for this orchestration.
From left to right: Marco Dessí (*1976), Dagobert Peche Revisited, Vienna, 2012, Execution: Marco Dessí, Karl Neubauer (MAK), plywood, yellow stained, CNC-milled, steel tube, powder coated.
Dagobert Peche (1887-1923), Salon Cabinet for a Reception Salon Presented at the 45th Secession Exhibition 1913, Vienna, 1913. Execution: Jakob Soulek, pear wood stained black, carved and gilded limewood. Wallpaper, Dagobert Peche (1887-1923), The Reed II, Vienna and Cologne, 1922. Execution: Flammersheim & Steinmann for the Wiener Werkstätte. Paper; printedStarting on 30 January 2013, Marco Dessí will present his works in the solo exhibition STILL LIFE as part of the exhibition series APPLIED ARTS. NOW. Marco Dessí (born in Meran, Italy, in 1976) after a technical apprenticeship studied industrial design at the University of Applied Arts
Vienna. In 2007 he founded his own design studio. As a designer, he is interested in a consistent link between function, construction,
and aesthetics. His working methodwhether manual or industrialpostulates a permanent understanding of and proximity
to the production process.> marcodessi.comDagobert Peche (born 1887 in St. Michael, died 1923 in Mödling) studied in Vienna between 1908 and 1911. Starting with mechanical engineering
at the Technical Institute he later switched to the Academy of Fine Arts, where he studied architecture. Although his formal
language at first revealed Baroque and Rococo influences, Peche was soon keenly interested in standardizing forms and in the
new possibilities afforded by industrial mass production of crafts objects. Throughout his lifetime Peche continued to exert
a strong pull on the designs produced by the Wiener Werkstätte. As one of its most creative exponents, he designed some three
thousand objects, including china, furniture, book bindings, jewelry, fashions, textiles, and even Christmas tree decorations.Curator Marlies Wirth