In Oddly Acquainted, with Eduardo Corral we see innumerable recoveries of the Space Age of the 50s, reconfigured to refer indirectly to the human anatomy, warning the insertion of the technology in the body. Today said insertion is not a matter of speculation, but identifiable in any aspect of reality. Through a plethora of design objects and landscapes built from the amalgam of technology, process, assembly, industrialization, and marketing, usage seems to lose value in the face of its status as an aesthetic prototype.

 

El Green, a term that Eduardo uses to describe his product, traces a vaguely recognizable line to the vintage electrometric, making eventual stops in the toy of the 90s and the sex toy, is always treated with programmed delicacy. Thus he forgets his use. The design capital understands well that the soul of commerce is on the cover. The design that survives creates a link between the familiar and something new, the obsolete and something unknown.

 

Desire is not manufactured from a vacuum but from referents already inserted in our environment. But focusing in Eduardo's work is not branding - although it seems so - not even of himself. The practice seems rather guided from the ludo, the ability to play, its tendency to collapse object, process, attitude, material, and finish. The process is not conclusive, but the opposite - open, irrational, elusive, floating. Suspended, we turn to our city to ask - How do we propose design in our city? Who is in the game? and What expires?