The Memphis movement, which began in the 1980's, is one of the most celebrated aesthetics of the late 20th century. It is an undeniably postmodern movement. The Memphis Group was an Italian design and architecture group founded in Milan by Ettore Sottsass in 1981 that designed Postmodern furniture, fabrics, ceramics, glass and metal objects from 1981 to 1987. It didn't really contribute much to the world of visual communication, especially graphic design and illustration.
But, today, it is hard to escape its influences within visual culture. Everywhere you look in graphic design and illustration, you see shapes, patterns, forms and expressions of the Memphis group. Trendlist even have a category called 'Wiggles' which I believe to be a direct link to the Memphis movement. I find it fascinating that a movement that was so concerned with architecture and furniture design has had such a profound impact on visual communication.
Of course, pastiche, parody and simulacrum come into play here. What is actually happening is a mass recycling of surfaces, signs and symbols that have previously been accepted in mainstream culture. Designers and artists are paying homage to the aesthetics of the Memphis group, but in the process, they are creating a simulacrum, a hyper-reality. The average consumer of visual culture would accept this fact and take it for face value, they probably wouldn't even realise that this is such blatant use of pastiche. Within the context of my research question, manifestations of such blatant pastiche are invaluable, because they ultimately prove the theories of Baudrillard, Hutcheon and Jameson correct and basically answer the title of my essay. Below are a range of pieces of contemporary work which are directly using pastiche taken from the Memphis movement:
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