{"product_id":"bruno-pelassy","title":"Bruno Pélassy","description":"\u003cp style=\"text-align: left;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“In 1987, while finishing his training as a tailor, Bruno Pélassy was living in a studio apartment in Paris, amidst dark clutter and a cascade of needles, lace and fur that his mother used to bring him from Nice. On his cathode-ray television, his VHS tapes played on repeat: \u003c\/span\u003e\u003cem\u003eThe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eExorcist\u003c\/em\u003e\u003cspan\u003e (1973), \u003c\/span\u003e\u003cem\u003eFemale\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrouble\u003c\/em\u003e\u003cspan\u003e (1974), and \u003c\/span\u003e\u003cem\u003eThe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLaw\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eof\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ethe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eStrongest\u003c\/em\u003e\u003cspan\u003e (1975). Sometimes he would turn the volume down to play his vinyl records along with the images: “Madame Butterfly” by Malcolm McLaren (1984), the recording of Ingrid Caven at Le Pigall’s (1978), anything by Madonna. On a pine shelf, a Chanel perfume bag and the beginnings of a library: \u003c\/span\u003e\u003cem\u003eLa\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNuit\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ejuste\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eavant\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eles\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eforêts\u003c\/em\u003e\u003cspan\u003e (1977), \u003c\/span\u003e\u003cem\u003eDans\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ela\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003esolitude\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003edes\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003echamps\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ede\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ecoton\u003c\/em\u003e\u003cspan\u003e (1985) and \u003c\/span\u003e\u003cem\u003eLe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRetour\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eau\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003edésert\u003c\/em\u003e\u003cspan\u003e (1988). Like Koltès, the author of these books, Pelassy was gay, born into a Catholic family, with a military father and a housewife mother.” As it turns out from the words of Baptiste Pinteaux, throughout his life Bruno Pélassy embodied a multifaceted and gleaming persona, one of a rampant collector whose subversive and sensual oeuvre rejects pigeonholing. His work, which spans over a decade (1990s–2000s), range from sculptures and bijoux to drawings and films, incorporating motifs from both haute couture and the second-hand cultures of a throwaway society, addressing both the issues of adornment and those of technology.\u003c\/span\u003e\u003c\/p\u003e","brand":"bruno","offers":[{"title":"Default Title","offer_id":54319008383309,"sku":null,"price":40.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0164\/7630\/7520\/files\/260717_Shopify3.jpg?v=1784291387","url":"https:\/\/shop.b-r-u-n-o.it\/products\/bruno-pelassy","provider":"bruno","version":"1.0","type":"link"}