In the hushed halls of traditional design exhibitions, objects often stand as solitary figures, illuminated under precise lighting, their visual presence amplified by an almost reverent silence. This conventional approach, however, is being radically redefined in Paris by the CONTRIBUTIONS Festival. Now in its second edition, this visionary non-profit, founded by design consultants Anna Caradeuc and Élise Daunay, shatters the premise that design is solely a visual feast. Instead, it elevates sound from mere background ambiance to a fundamental, structural element – a profound layer of meaning that reshapes our entire perception of material culture.
The festival’s genius lies in its decision to commission musicians to respond directly to the exhibited works. This creates a symbiotic dynamic where acoustic and physical forms don’t just coexist, but become mutually constitutive, each informing and enriching the other. The result is an immersive, multisensory journey that transcends the static contemplation of objects.
Resonant Forms: Emily Thurman’s Bell-Adorned Furniture
Perhaps the most captivating embodiment of this innovative approach is found in Emily Thurman’s extraordinary bell-adorned furniture. Her “Mother’s Love Rocking Chair” and “Cheer Up, for You Are So Young Rocking Stool” defy simple categorization, functioning simultaneously as exquisite sculptural objects and intricate musical instruments. The bells, a diverse collection sourced globally and augmented by Thurman’s own sculpted creations, strung together by Paris-based jeweler Zoé Mohm, form a vibrant constellation. Crucially, these aren’t static ornaments; they activate through interaction, transforming the furniture into a living, breathing soundscape.
Kevin Morby’s accompanying wandering soundtrack masterfully integrates these resonant tones, establishing a compelling feedback loop. The inherent sonic properties of Thurman’s furniture directly influence the composed music, which in turn recontextualizes how visitors engage with the physical forms. Thurman’s broader “Hundō” collection, named from the proto-Italic etymology for “foundry” (meaning “to pour out”), draws a powerful connection between ancient bronze casting techniques and concepts of devotional practice. This collection thus operates across multiple temporal registers, bridging ancient metalworking traditions with contemporary craft revival, further enriched by Morby’s musical vocabulary which adds yet another layer of historical and emotional depth.
Ancient Echoes, Modern Dialogues
Another striking pairing brings together Normandy-based Pauline Esparon’s translucent parchment works with Juliette Teste’s ceramic sculptures. Esparon’s “Dabgar” series revives centuries-old Pakistani parchment-making traditions, yielding surfaces that filter and mediate light with an organic, almost ethereal irregularity. Placed in dialogue with Teste’s robust ceramics, all enveloped within Michelle Blades’s ethereal soundscape, this installation orchestrates a profound conversation. Here, ancient craft techniques speak to contemporary sculptural practice, creating a rich interplay that resonates both visually and acoustically.
Domesticity as Cultural Transmission
Nifemi Marcus-Bello’s “M2 Shelf” with its integrated La Boîte concept speaker offers a poignant exploration of memory and identity. Recalling living room furniture from the designer’s Lagos childhood, it transforms personal nostalgia into a compelling formal investigation. Paired with Thomas Morineau Barthelemy’s thoughtfully designed seating and Rodrigo Amarante’s evolving Brazilian soundtrack, this installation crafts an intimate listening room. It posits domestic furniture not merely as functional objects, but as powerful vehicles for cultural transmission, inviting reflection on heritage and personal narrative.
Myth, Modernity, and Scenographic Storytelling
The fourth installation, meticulously curated by emerging Parisian dealer Adrien Jaïs, is a rich tapestry of historical and contemporary narratives. It unites Sylvia Corrette’s 1989 “Roxanne, Princesse des Djinns” series – created during a pivotal moment when French design navigated between postmodern expressionism and a resurgence of craft traditions – with Luna Paiva’s evocative “Aura” drawings and Valerie Name Bolaño’s “Scavo at Midnight” pendant lights. All these elements are framed within a captivating scenographic design by Jeanne Tresvaux du Fraval. Corrette’s series, with its reference to mythological spirits, imbues the space with a compelling narrative quality, highlighting the enduring power of storytelling in design.
Crafting Cultural Memory: The Italian Bar Experience
The festival’s fifth and final presentation brilliantly synthesizes its broader ambitions. Andrea Laszlo De Simone’s captivating audiovisual piece, “Una Lunghissima Ombra,” is presented alongside Harold Mollet’s curation of Metals Milano’s iconic 1994 “Bar Metals” collection. By recreating the vibrant atmosphere of an Italian bar upstairs, while De Simone’s immersive work unfolds elsewhere, the installation powerfully demonstrates how design and music intertwine to construct cultural memory and shape social ritual. It’s a testament to the festival’s core philosophy: that objects, when imbued with sound and context, become more than just forms; they become vessels of shared experience and collective history.
The CONTRIBUTIONS Festival #2 is more than an exhibition; it’s an invitation to experience design in a profoundly new way, where every object has a voice, and every sound tells a story. To delve deeper into this groundbreaking event, visit contributions.design.
Photography by DePasquale Maffini, Kate Devine, Pauline Chardin, and Alexandre Onimus.
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