Gaetano Pesce Tries To Avoid Sameness In Everything He Does

You said that your work is political in nature. But is it also for fun?

Yes, this is very important. The visual slice is for creating pleasure. And it is always a response to what is going on in the world. If there is a war, I should do something to make people laugh or laugh if possible. The only other option is too depressing. In this way, the work has an important function. When you add not only a good use of material to an object, but also a political, social or religious perspective, then it becomes art.

When you look at your work, do you see a history of political action?

In some things, yes. In others, I simply express my curiosity about a new technology.

What else inspires you?

I find inspiration by observing diversity.

Is it the designer’s curse that you always think about how you can make someone else’s object better?

Yes, this happens unintentionally.

Who do you think makes interesting buildings?

Maybe Jean Nouvel, I don’t know. The wick-like tower he built in Barcelona is hilarious. The Englishman copied it, what’s his name?

Norman Foster.

I gave a lecture at the Royal Academy of Arts in London where I asked the audience, “Can you explain to me the relationship between your British identity and this wick?” I said. The room fell silent. But it’s true! Why did they make a wick? Renzo Piano also built one in Stuttgart. This is something.

Are you optimistic about the next generation of designers and architects?

Yes, but I’m not optimistic about their teachers. They teach what they were taught when they were young, so their wisdom is already old. It is a problem.

How long will your work cover the facade of the museum?

I have no idea. It would be great if they decide to keep it there forever.

This interview has been edited and shortened.