Summary

This article discusses three radical objects—the Glifo shelf from 1966, the Blow chair from 1967 and the Sacco chair from 1968—that were all exhibited at Museum of Modern Art’s ground-breaking architecture and design exhibition Italy: The New Domestic Landscape in 1972. The article proposes that these early postmodern objects should not merely be considered a new stylistic development, a new aesthetics or as expressing new conceptions of sociopolitical ideologies; rather, they can be considered as instigating a new epistemological status of objects. A close reading reveals how the structural element of Glifo, Blow and Sacco is hard to trace and how these objects’ physical limits seem to soften or even dissolve. By engaging with the writings of Jean Baudrillard, Jacques Derrida and Manfredo Tafuri, this article claims that the poststructuralist landscape of ideas has a material counterpart in some objects from the late 1960s and then discusses the political and intellectual implications of such unstable objects.

中文翻译：

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不稳定的物体：Glifo，Blow和Sacco在现代艺术博物馆（MoMA），1972年

概括

本文讨论了三个激进的对象，即1966年的Glifo架子，1967年的Blow椅子和1968年的Sacco椅子，它们都在现代艺术博物馆开创性的建筑和设计展意大利： 1972年的新家庭景观中展出。这篇文章提出，这些早期的后现代对象不仅应被视为一种新的文体发展，一种新的美学观，或者应被视为表达社会政治意识形态的新观念。相反，它们可以被认为是在激发物体新的认识论地位。近距离阅读揭示了Glifo，Blow和Sacco的结构元素很难追踪，这些物体的物理限制似乎如何减轻甚至消失。通过与让·鲍德里亚（Jean Baudrillard），雅克·德里达（Jacques Derrida）和曼弗雷多·塔夫里（Manfredo Tafuri）的著作进行互动，本文声称，从1960年代后期开始，后结构主义思想界在某些对象中具有实质性的对应，然后讨论了这种不稳定对象的政治和思想含义。