During this year's Salone del Mobile, Galleria Gruppo Credito Valtellinese presented 'La Collezione Memphis alle Stelline', offering the largest museum exhibition of Memphis ever presented in its birthplace of Milan including Sottsass' 'Carlton' room divide,1981. Photography: Fabrizio Stipari

“我们推出孟菲斯的那晚，在Sone del Mobile期间，我们无法相信展厅前的道路在一小时后就会被关闭，因为街上有那么多人，”设计师Matteo Thun在2011年该集团成立三十周年之际告诉“墙纸”，并补充说，“我们根本不想震惊！”

不仅档案作品再次成为人们关注的焦点，孟菲斯还激发了许多当代建筑师、画家和时装设计师的新鲜作品。

今年的Sonedel Mobile与“La Collezione孟菲斯alle Stelline”一起在Gruppo Credito Valtellinese举办了展览，这是孟菲斯有史以来在其出生地米兰举办的最大规模的博物馆展览。这次活动非常成功，将于6月1日至29日在皮拉画廊再次展出。这一展览还与米兰家具设计师Giacomo Moor在“邮政设计”上的“大都会”展示联系在一起，后者是孟菲斯公司生产其新系列的品牌名称，也是展示孟菲斯作品的画廊。

“我在学习建筑的时候发现了孟菲斯运动，”Zana解释说。孟菲斯是设计界的一场真正的革命。它为上世纪90年代的新设计形式开辟了道路，起到了隔阂的作用，并带来了更多的艺术态度。

通往孟菲斯的道路是在1981年由索特萨斯铸造而成的，多年来，共有20位设计师分享了他对后现代的渴望，创造了家具、物件、织物、陶瓷和建筑，它们坐在媚俗和未来主义之间，迅速成为了一种“n”的冒牌徽章。电子战设计。

经过“装饰艺术”和“流行艺术”之后，这群人很欣赏包豪斯，但他们觉得自己受到了校长们的限制，也许他们最出名的地方就是对室内装饰的五颜六色的攻击。在他的绘画系列中，巴斯融入了运动美学的关键设计元素，这是他在青年时期第一次通过流行文化的参照而遇到的。

时尚界也在同样地确保孟菲斯得到我们的充分关注。

在春夏2014条跑道上，C线和亚历山大麦昆都拥抱了运动的Mobilo HueD主调色板，而令人眼花缭乱的光学图形在Marc被马克·雅可布、开幕式和Roland Mouret看到。卡尔·拉格斐的香奈儿画廊的展品点缀着孟菲斯风格的雕塑——毫无疑问，这是一个完全回到孟菲斯的摩纳哥公寓。2014秋季/冬季，普伦扎-舒勒也对运动的乐观和活力的幽默感进行了观察，这体现在剧中对图案封套的衣服和服装上的绊脚石图形的冲击。

1985年，Sottsass可能已经离开了该组织，1988年解散，但孟菲斯的遗产无疑都在继续，最后他妻子芭芭拉·拉布拉多在伦敦的设计博物馆举行了一次谈话，为二十世纪最受尊敬的设计思想家和影响者的世界提供了深刻的洞察力。

This exhibition was such a success that it is moving to Pila Gallery in Sartirana Lomellina (Pavia) from 1-29 June. Pictured: Various glassware by Ettore Sottsass, 1986, from the Memphis Milano Collection. Photography: Fabrizio Stipari

'Max' wood veneer sideboard by Ettore Sottsass, 1987. Photography: Fabrizio Stipari

'Flamingo' bedside table (left) and 'Polar' end table (right), by Michele de Lucchi, 1984. Photography: Fabrizio Stipari

Left: 'Treetops' metal floor lamp by Ettore Sottsass, 1981. Right: 'Otello' leather armchair by Massimo Iosa Ghini, 1986. Photography: Fabrizio Stipari

French architect Charles Zana recently staged an exhibition of vases designed by the four tenors of the Memphis group - Ettore Sottssass, Andrea Branzi, Alessandro Mendini and Michele de Lucchi - titled 'Vasi e Fiore' at Paris' Musée Delacroix. Photography: Jacques Pepion

This exhibition was the result of Zana's desire to bring the creations of the four designers together in one place. 'The vase is this simple object that clearly explains the style of each,' he adds of Andrea Branzi's designs pictured. Photography: Jacques Pepion

'I discovered the Memphis movement while I was studying architecture,' explains Zana. 'Memphis is a true revolution in the world of design. It opened the way for new forms of design in the 1990s, distancing function and causing a more artistic attitude'. Photography: Jacques Pepion

This conical piece was designed by Alessandro Mendini in 1992. The shape was later interpreted by 100 other artists for an Alessi exhibition called '100%'. Photography: Jacques Pepion

A close up of Andrea Branzi's 'Amnesie' collection, 1991. Photography: Jacques Pepion

The Memphis movement was forged in 1981 by Ettore Sottsass, with up to 20 designers (a selection of whom are pictured) involved in the group over the years, united by their common Post Modern aspirations. Photography: Studio Azzurro

A new monograph by Phaidon celebrates the life and work of founder Ettore Sottsass (1917-2007). Courtesy of Phaidon

A portrait of the Italian architect and designer from 1944. Courtesy of Phaidon

A shot of Sottsass' Via Cappuccio, Milan apartment in 1958. Courtesy of Phaidon

The group created glassware (pictured from 1982), furniture, objects, fabrics and ceramics featuring Fisher-Price colours, bulbous curves, asymmetrical shapes and graphic structural forms, sitting somewhere in the realm of kitsch and futurism, quickly becoming a brash badge for 'New Design'. Courtesy of Phaidon

The group also applied their bold, Lego-like colours to residential projects including Wolf House in Colorado USA, built in the late 1980s. Courtesy of Phaidon

Sottass left the Memphis group in 1985, but continued experimenting with typography, furnishings and buildings. This shelving piece was designed for Ernest Mourmans in 2003. Courtesy of Phaidon

Also on show during the Salone de Mobile was a new furniture collection by Giacomo Moor for Post Design, which is the brand name under which Memphis Company produces its new collections, and the gallery that exhibits Memphis' productions. Pictured is Moor's 'Dedalus' bookcase, 2014

Moor has designed a system composed of seven limited-edition storage pieces including a table, desk, wardrobe, console, bookcase, horizontal and vertical wall system, which are each numbered and signed by the designer. Pictured: 'Katai' horizontal wall system, 2014

'Tecla' wardrobes, 2014, are composed of walnut wood and framed in black-varnished iron

Memphis' bold aesthetic has also been referenced in American artist Hernan Bas' new exhibition titled, 'Memphis Living', on show at London's Victoria Miro gallery until 31 May. This piece is titled 'Feeling the Spirit', 2014

In his painting series the artist incorporates key design elements from the movement that he first encountered through pop culture references in his youth. 'Running Out of Room' by Hernan Bas, 2014

'The Go To Artist' by Hernan Bas, 2014, features Memphis designer Martine Bedin's 'Super' floor lamp, 1981

The fashion industry is similarly making sure Memphis has our full attention. American Apparel has collaborated with core member, artist Nathalie du Pasquier (pictured) on a 43-piece summer collection that's lavished with her graphic prints

The prints were directly inspired by du Pasquier's work in the 1980s with the group. The collection includes womenswear, menswear, accessories and swimwear

A design from the new American Apparel collection. When du Pasquier was recently asked why the movement had again found popularity, she replied, ' I don’t know why Memphis is "à la mode" again; it won’t last, so let’s enjoy it as long as it is!'

keywords:Memphis

关键词：孟菲斯