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Watershed rug by Matali Crasset, Khalil chairs by Local Industries and Palma shelving system by Marc Morro on display in CGN for Correspondences exhibition.Photo CreditHéctor Muñoz
Watershed rug by Matali Crasset, Khalil chairs by Local Industries and Palma shelving system by Marc Morro on display in CGN for Correspondences exhibition.Photo CreditHéctor Muñoz
Watershed rug by Matali Crasset, Khalil chairs by Local Industries and Palma shelving system by Marc Morro on display in CGN for Correspondences exhibition.Photo CreditHéctor Muñoz
Watershed rug by Matali Crasset, Khalil chairs by Local Industries and Palma shelving system by Marc Morro on display in CGN for Correspondences exhibition.Photo CreditHéctor Muñoz
Watershed rug by Matali Crasset, Khalil chairs by Local Industries and Palma shelving system by Marc Morro on display in CGN for Correspondences exhibition.Photo CreditHéctor Muñoz
By the end of the past century, critical regionalism sought to apply the precepts of modern architecture to specific geographic contexts, mediating between the languages of global and local construction. In that same sense, good design from the 20th century aspired to create objects that, far from being specific things for particular contexts, would have a universal human comprehension, even when they were produced locally. The reach of today's digital tools puts the aspirations of universality of 20th century design to the test, while confirming that the economic, political and social conditions of a place affect the production of objects, and that this production is traversed by the technological possibilities of each context. Correspondences is an exhibition that compiles CGN's most recent international collaborations with the purpose of showing the materialization of a shared cross-border vision. A vision that encompasses not only the ultimate goal of having a piece produced, but also the evolution of the conversations that precede it, and the maturation of the relationships that enable these collaborations. Some of the pieces on display are the result of an exercise in which foreign designers had the opportunity to get to know –from afar– the material, technical and manufacturing possibilities that exist in Mexico, forcing them to think beyond their concepts. A similar process occurred with the pieces that were manufactured outside Mexico, for whose production, the designers resorted to the skills that are performed in local workshops with traditional crafts.