“I love what Sebastian is doing with art and design. He is making furniture that is sculpture! New, innovative, and contemporary.”
“My favorite works by Sebastian have always been his explorations of negative space, or perhaps it would be more accurate to say, the hidden dimensions of the piece that take time to be discovered. We were honored to be the first auction house to sell a work of Sebastian’s, his Bowl Dinner Table, in which we placed a centerpiece of green apples during our exhibition. Since then, I have always admired the Piano Shelf and its successor the Porcupine Cabinet for their poetic functionality.”
—James Zemaitis, Director of Sotheby’s 20th Century Design Department
“An immensely talented young artist and designer with few generational equals.”
—Christian Viveros-Fauné, Art critic for The Art Newspaper & The Village Voice
A new generation of creatives is increasingly producing work at the nexus of art and design. A young trailblazer of this movement is Sebastian Errazuriz, who successfully melds elements of sculpture and performance with design.
The graphic visual language of Errazuriz, a Chilean now living in New York, plays masterfully with elements of nature and pop culture. The lightness and sneaky irony of his oeuvre has often been compared with that of Erwin Wurm, while its morbid charm and clever wit suggests a kinship with Maurizio Cattelan and Gabriel Orozco. Errazuriz’s work has already been shown at over 40 exhibits in cities including New York, Paris, Tokyo, and Barcelona alongside design legends such as Ingo Maurer, Marcel Wanders, and the Campana Brothers. Sotheby’s sold one of his pieces at its renowned Important Twentieth Century Design Auction when he was only 28 years old. Today, Errazuriz's creations are snatched up by collectors the second they leave his Brooklyn studio.
Sebastian Errazuriz is especially well known for his project Memorial of a Concentration Camp. For this artwork he had a 10-meter-tall magnolia tree planted in the middle of the soccer field at Santiago de Chile’s national soccer stadium—on the exact spot where in 1973 dictator Augusto Pinochet had thousands of political prisoners tortured and then executed. For one week Errazuriz thus turned the arena into a public park that invited contemplation. On the last day, the artist had the two best Chilean soccer teams play a match around the tree for 20,000 spectators.
This book is the first monograph of Sebastian Errazuriz’s work, which the New York Times calls “humorously avant-garde.” It includes conversations Errazuriz had with artist Tom Sachs and MoMA senior curator Paola Antonelli. The introduction was written by the art critic Christian Viveros-Fauné and gallery owner Cristina Grajales.