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impact.
Is there any piece of furniture that is unique and bizarre, almost impossible to
categorize? (We say almost because in the human necessity to classify, it can be
classified as unclassifiable). When talking about furniture what really matters are the
possibilities of inclusion in a room as well as the possibilities of combination with other
furniture. These are pieces of furniture that, without a doubt, capture the eye and self-
establish as the central piece of any room. Furniture which’s protagonism forces the
room and its design to adapt to the furniture and not the other way around.
The Traforata chair has been described as the king’s chair; the associations are obvious
and they are clear to the sight: the detailed wood carvings on the chair point out to
antique furniture and to the baroque art, which can be noticed in the lion’s head on the
armrest and also the animal paws in the front legs. But is the upholstery that is going to
make all the difference in this case: if the classic red fabric with golden tacks is to be
chosen, or the black and golden wood with red fabric, the accomplished style has
already been seen and processed, it has been, basically, done.
If instead the upholstery is neither conventional –to the chair- nor typical of antique
furniture the result is a chair that can be described as a hybrid. In other words, a unique
chair that is opposed to kitsh (by kitsh we understand that that does not produce a new
feeling, that it has turn itself into a model that the reader, spectator or the audience
already posses the means to interpret and that does not imply a work of decoding nor
imagination. Kitsch is what does not move or touch).
Many works of art intend to produce an impact, this chair, without a doubt is impressive
and even monstrous. An average reader will interpret monstrosity as something
negative, but we must remember that something can be called monstrous because of its
size or because of its grotesque combinations which lead to a disturbing result.
Monstrous is such because it is impossible to classify, is that which cannot be
assimilated and that, if it finally is absorbed, ceases to be monstrous. César Aira –a
brilliant literary critic- has defined the Argentine writer’s, Roberto Arlt, prose as
monstrous due to the lack of distance between narrator and reader. The monstrosity of
El Juguete Rabioso (The Rabid Toy), Los Siete Locos (The Seven Madmen) and Los
Lanzallamas (The Flame-Throwers), amongst other works, not only lies in the narrator’s
complexity but also in the non-literature-conventional vocabulary (related to what
Beatriz Sarlo has defined as “poor man’s knowledge”) and the characters (were the
double figure can be drawn between Erdosain and Barsut). More importantly, Arlt´s
work monstrosity resides, in the first place, in its hybridism (the mixing between
German Expressionism, North American Existentialism and Italian Futurism without
the predominance of any), as well as in its complete lack of adscription to any ideology.
The secret society in which the main character gets involved, mixes fascist and
communist discourse, spiritual and technological discourse and religious and atheist
discourse.