About Felipe Ribon
French Resident #5 | October 15 - December 15, 2023
Born in Bogotá, Colombia, Felipe Ribon attended ENSCI – Les Ateliers in Paris, from which he graduated in 2008 as an industrial designer.
In devising new areas for design, Felipe Ribon sidesteps the boundaries set up by Cartesian rationalism, while still remaining faithful to the demands of his discipline. His rejection of conceptual restrictions, his re-questioning of preconceived ideas, and his suspicion of the obvious are key factors in the approach of this Franco- Colombian creator, nourished by a multiculturalism which forces him to readily adopt surprising and unusual viewpoints.
Presented in partnership with Villa Albertine
Supported by the Bettencourt Schueller Foundation
In 2008 Felipe won the Public Prize of the Villa Noailles, the "Best of the Best" award at the Red Dot Design Award (Germany), the Grand Prix of Creation of the City of Paris. He won the Audi Talent Award in 2013 and in 2016, his Osmos perfume diffuser, created in duet with silversmith Nicolas Marischaël, receives the 16th Liliane Bettencourt Prize.
Felipe Ribon has presented his work in solo exhibitions such as The host (Shoyeido Kunjyukan, Japan - 2018); Sensitive Bodies (Museum of Decorative Arts and Design - Bordeaux - 2015); Æ, Medium Objects (Cognacq-Jay Museum - Paris - 2015) and Mind the Gap (Dutch Institute, DDAYS - Paris- 2013). His work has also been featured in Drive-in (CAPC - Bordeaux - 2018); Japanorama - When humidity changes, the world changes- (Centre Pompidou-Metz - 2017); Vivarium (Aichi Triennial - Japan - 2016); Double Je (Palais de Tokyo - Paris - 2016); Mutations (Museum of Decorative Arts - Paris - 2015); Conversations (M.A.M of the City of Paris - 2014).
Combining gastronomy, photography, and industrial design, Felipe’s Comfort Goods project aims to bring together popular knowledge around food and the concept of home.
Residency Project
“Coined in the 1960s, the term “comfort food” went mainstream in the 1970s when Liza Minelli used it to describe the emotion she experienced while eating a hamburger. Today, this widely used term describes any food that possesses a usually nostalgic or sentimental appeal. The choice of the word “comfort” also evokes the field of design. Designers use this term to refers to material commodities that procure a sense of well-being, but all too often overlook a whole set of intangible aspects that nonetheless radically impact our bodies. Herein lies the nucleus of my research thematic; the starting point of a project that contradicts the very tenets of design.
This discipline, born from the promise of a better world, has focused on the object’s function as the core of a quest for unlimited comfort. Pursuing new design horizons has been the guiding principle in bringing consistency and theoretical soundness to my work. But if we wish to present a new design ethic, we must challenge our existing models and rethink—as is the case for this residency—our definition of comfort. By questioning the function of comfort food and exposing the real or imagined emotions that it conjures up, we are brought to reflect on the imbalances arising from our excessive consumer society, with all its industrial surplus, waste, and vices. At the crossroads of gastronomy, photography, and industrial design, the Comfort Goods project aims to find links within popular knowledge around food and the concept of home.
The Comfort Goods project aims to further our understanding the concept of comfort food in North America by exploring how it relates to well-being. This research will be informed by the themes and methodologies of design. My residency in Brooklyn will provide an opportunity to discover all the dishes falling under the umbrella of comfort food. This borough is the ideal context for carrying out my fieldwork in order to understand the aspects that characterize US food culture, namely, as a dialog among all the diasporas – Italian, Afro-American, Latino, Caribbean, Asian, Jewish, etc. – that are continually growing and evolving across the country.”
Residency Highlights
Felipe’s Experience
1. After a few weeks back in France, what do you consider has been the most important and beneficial outcome of your two-month residency in New York?
Exploring the intersections of gastronomy, anthropology, photography, and industrial design during the residency allowed me to capture not only the visual aspects of comfort food but also the intangible elements—stories, traditions, and emotions—that surround it. This pluridisciplanary approach has enriched my initial project, offering a more profound narrative that goes beyond the mere representation of dishes.
Moreover, the numerous encounters with local chefs, passionate culinary enthusiasts, and artisans have significantly shaped my perspective. These interactions not only provided practical knowledge but also infused my project.
3. Could you briefly share your objective, activities, research methodology, highlights of your two-month residency?
During my two-month residency in New York, the primary objective was to explore and deepen my research on the concept of "comfort food" in the North American context. The project aimed to investigate the link between comfort food and well-being, examining it through the lens of design.
The research methodology involved three key axes:
1_Fieldwork and Dialogue: This included visits and discussions with experts, producers, industrialists, farmers, local restaurateurs, with a focus on products, associated objects (tools, utensils, tableware).
2_Documentation through a Travel Journal: I maintained a travel journal as an archive of ephemeral experiences, capturing tastes, sensations, sounds, gestures, oral traditions, recipes, through interviews, photographs, films, and illustrations.
3_Historical and Contemporary Documentation: This axis focused on exploring the history and contemporary aspects of knowledge and lifestyles related to comfort food. It encompassed visits to libraries, museums, fairs, exhibitions, parades, and religious celebrations.
3. What was the most exciting and unexpected discovery?
The most exciting and unexpected discovery during my residency was the vibrant and dynamic culinary scene in NYC, shaped by the diverse diasporas, cultures, and communities that coexist in this borough. Exploring the local food landscape led me to unexpected encounters with unique flavors, traditions, and stories.
One particularly thrilling discovery was the thriving community of artisanal producers and small- scale food businesses. Visits to local markets and encounters with individuals like Alan Kaufman, THE PICKLE GUY, shed light on the passion and dedication of those shaping NYC's culinary identity.
4. How do you want to continue to develop your project in France and/or around the world?
Continuing the development of my project, "Comfort Goods," involves a multi-faceted approach aimed at reaching diverse audiences and engaging with different cultural contexts. Here are some strategies for the project's expansion:
1_Exhibition in France and in the US: Consider organizing an exhibition in France to showcase the project's findings and visual documentation. Another possibility is to Organize pop-up events in different cities to bring more commercial elements of the project directly to diverse audiences.
2_Publication: Design a book or catalog that complements the exhibition and provides an in-depth exploration of the project.
3_ Digital Platform: Create a website that will be the archive of the project and also a marketing place to sale the results of the residency such as photo prints, comfort goods, and catalog.
5. Would you be interested in pursuing collaborations in the US?
Certainly, exploring collaborations in the US would be an exciting avenue to further enrich and expand the impact of the "Comfort Goods" project. Here are 3 potential areas for collaboration:
-Educational Initiatives : Collaborate with educational institutions in the US to integrate elements of the project into academic programs. Conduct workshops or lectures that explore the intersection of design, gastronomy, and cultural studies.
-Cultural Institutions and Festivals : Partner with museums, galleries, or cultural organizations in the US to host exhibitions or events related to the project.
-Brand Partnerships : Explore collaborations with businesses or companies that align with my sensitivity, potentially leading to product design, photo campaigns, or events.
6. What's next for you, do you have upcoming projects, travels, or exhibits you would like to share?
I am currently immersed in the preparations for my upcoming solo exhibition, slated to debut during Milan Design Week 2024 and will then travelled to MUDAC Lausanne.
Simultaneously, I am working on an installation titled "Olfactive Clock," set to be featured at the Biennale de Venice Homo Faber in September 2024.
Beyond exhibitions, my commitment to knowledge-sharing continues through workshops and lectures. I am scheduled to engage with students and professionals across Europe and Latin America.