Pia Rönicke, Without a Name, 2004

A video and sound installation, a slide show, photographs and sculptures recreate Rönicke’s meeting with a famous designer, Mrs Le Klint, who lost her name and was unable later on to give identity to her own design objects. Both her and her actions was faceless. Pia Rönicke employs both fact and fiction to trace the designer’s journey. By rejecting amnesia, Pia Rönicke refocuses contemporary social and artistic concerns - inventing new forms - as if the artist’s duty was to continually reassess history and impose her own vision.

Pia Rönicke, Without a Name, 2004

A video and sound installation, a slide show, photographs and sculptures recreate Rönicke’s meeting with a famous designer, Mrs Le Klint, who lost her name and was unable later on to give identity to her own design objects. Both her and her actions was faceless. Pia Rönicke employs both fact and fiction to trace the designer’s journey. By rejecting amnesia, Pia Rönicke refocuses contemporary social and artistic concerns - inventing new forms - as if the artist’s duty was to continually reassess history and impose her own vision.

Pia Rönicke, Without a Name, 2004

A video and sound installation, a slide show, photographs and sculptures recreate Rönicke’s meeting with a famous designer, Mrs Le Klint, who lost her name and was unable later on to give identity to her own design objects. Both her and her actions was faceless. Pia Rönicke employs both fact and fiction to trace the designer’s journey. By rejecting amnesia, Pia Rönicke refocuses contemporary social and artistic concerns - inventing new forms - as if the artist’s duty was to continually reassess history and impose her own vision.

Pia Rönicke, Without a Name, 2004

A video and sound installation, a slide show, photographs and sculptures recreate Rönicke’s meeting with a famous designer, Mrs Le Klint, who lost her name and was unable later on to give identity to her own design objects. Both her and her actions was faceless. Pia Rönicke employs both fact and fiction to trace the designer’s journey. By rejecting amnesia, Pia Rönicke refocuses contemporary social and artistic concerns - inventing new forms - as if the artist’s duty was to continually reassess history and impose her own vision.