3 Models to choose:
– Wooden case lined paper: 15 chairs / 29 chairs
– Small packaging 15 chairs
These are chairs that can be piled up, stacked, left scattered on the floor or grouped into random shapes of difficult equilibrium. But whatever we do with them, this game lets us play with the most primitive rules, those of a child trying to challenge himself and to dare balance itself by stacking objects using the freest of artistic expression.
The chair is an object that transcends its own usefulness. It´s not strictly another piece of furniture. A chair, to truly be a chair, must have established an affective bond with the person using it. Chairs come in many forms and everybody can remember certain ones among them, but the representation of the chair, the mythical chair, can only be shown by that which is most essential: its architecture. We have therefore chosen this one – schematic and unadorned, almost skeletal – to represent them all in this game of chairs.
In playing with the chairs we let ourselves be carried away by the need to experiment, which gives rise to unsettling sensations, hard-to-express emotions and unbeckoned feeling that can appear unexpectedly.
During the game we are acted upon by stimuli, intuitions, feelings, memories, discoveries that pull us away from our predictable routines and behavior. More than engaging in sophisticated intellectual activity, the aim is to play and see just how the construction we are making can surprise us by its beauty, its audacious balance, the strangeness of its forms, etc. After a time some questions about poetic language will undoubtedly arise, and while no one may be able to answer these questions, we will continue to play in an increasingly curious and enjoyable way.
Is it an inanimate object or is there something in it that gives it life? Could it be that he reminds us of the messenger boy, the newspaper vendor, the shoeshine or the apprentice of any number of jobs – one who depends on his arms and legs to carry out these menial jobs in order to scrape by? Where does our sympathy for an object come from? Where do our emotions spring from -weak and subtle as they may be – where if not from the emotions of life itself and the spirit that animates it?
The tightrope walker balances over the precipice, risking life and limb as he walks over the thinnest of threads. They are not actors; rather, they relive what is essentially their life away from the wire. We are all tightrope walkers, though some more than others. Whether we are aware of it or not, we are all balanced on the edge. That is what they are trying to tell us.
The novelty of this magnetic Tangram is that it works with a third dimension and includes a new element: the need to strike a balance between the 7 pieces. The attraction between the tans (tangram pieces) is what ultimately sustains the figures and makes their handling so rewarding. As a result the upright figures can be seen and enjoyed from any perspective.
The triangle is the polygon with the fewest number of sides that can be made with straight lines. It is also the most elementary polygon, the primary polygonal unit, the proto-cell with which we can cover an entire flat surface and form all other possible geometric figures.