Mehrwert Added value
Material: Kunststoff, Marker Plastic, marker
The work refers to the proposition, that the adaption of a product in terms of simulating the well-known adds value – regardless of the initial function of the product and the actual costs for production and materials as well as the local context.
The title of the exhibition made me immediately think of faked branded handbags. The starting point for my considerations was the question which handbag is supposed to be good, which one is supposed to be bad. Is a bag produced at low cost bound to be worse than its expensive original? Are maximum prices for consumer goods still to be justified with their referring to authorship and a claim for excellence in quality? Why are we willing to pay absurdly high prices for some products and for others we aren’t? What makes an original an original and who defines the codes of exclusiveness? Who is able to read and understand them? And, how do the codes of upgrading a specific product work when the object – here a typical drinking-glass for regional cider – is shipped around the world without being known except in its specific local context?
Decorated with a hand-drawn rhombic pattern the plastic cup is probably recognized in Frankfurt/Offenbach (my adopted place of residence) by most people even though it might be appreciated by the fewest. Expecting the original “Äpplerglas” (the drinking- glass for our regional cider) everything is “wrong” with its copy: from its size to its rhombic painting and last, but not least, its material. Still the copy communicates regional reference and, of course, you can drink out of it. To some people its hand-made lines may even look more attractive than those of the machine-made counterpart. The plastic cup as a quotation of the original drinking-glass brings added value outside its regional context, too.
Frankfurt, Oct. 2016
Robert Cristinetti (*1975)
works in different design disciplines – both commissioned and in terms of free projects, mostly within the fields of communication design, the appearance of brands and identities and in the development of signage systems / environmental design.
1995 university-entrance diploma
1998 graduated precision mechanic
2000 co-founder of RENNSALON collective
2003 degreed industrial designer
2001 – 2013 freelancer (designer, project manager, creative/studio director)
2013 founding Cristinetti – Planning and Design