Laura Gonzalez

blog

28 Oct 2005

On Juicy Salif

In the mainstream Spanish film All men are the same (Manuel Gomez Pereira, 1994), three flat-sharing bachelors hire a young maid to tidy their home. She falls in love with the handsome one of them but, feeling betrayed, she decides to leave her job and steal some of their property. She picks up strange, menacing, spaceship-looking object placed on top of the TV and the rest of the storyline develops around her putting the object back or taking it depending on the mood of her relationship with the main male character. What she stole was a lemon squeezer, but not any lemon squeezer: Juicy Salif.

I used to go to the Alessi shop in Brook Street during my lunchtime, just to look at and hold Juicy Salif. Even though the shop was full of colourful and imaginative products, the menacing lemon squeezer always stood out. Being taller than any other product in the shelve (and certainly taller than any other manual lemon squeezer as it barely fits in the cupboard), its clumsiness was somewhat defiant.

I knew from its price tag, that this cult design object was within my range, that I could own it, but I never found the impetus to buy it. I was in two minds when I thought that, even if a design icon, was I was intending to purchase was an impractical lemon squeezer. I don’t even drink lemon juice… Instead, it was always on my wish list for someone to give it to me as a gift. It was as if I wanted juicy Salif to mark an occasion. Eventually, someone bought it for me. The night it was given to me, I was at a busy pub. When I opened it and placed it on the table people reacted in two different but distinct ways. Some immediately recognized the object, some other screamed: ‘What’s that!’

Like in the Spanish film, my Juicy Salif does not reside in my home’s kitchen but in my bedroom. I have never used it to squeeze lemons. I did not even get it with that intention in mind. What I very consciously wanted was to own a design icon, and not any design icon, but one that was subversive and changed things even if in a small way. Lemon squeezers don’t and shouldn’t look like Juicy Salif. This object is beautiful, thought provoking and imaginative (who could have thought of placing the glass under the squeezer?) but, essentially, it doesn’t function very well. I still don’t understand how that works but I think that adds to the overall status of Juicy Salif.

Posted in Blog, Juicy Salif, Seductive things


2 Responses to “On Juicy Salif”

  1. Managing Creativity: Exploring the Paradox said:

    [...] Barbara Townley and Nic Beech, published by Cambridge University Press. I contributed a chapter on my favourite lemon squeezer. After writing a code of practice for work, various course reports, three chapters of my PhD thesis [...]

  2. HEEL LIFTS said:

    exemplary work. You have gained a new subscriber. Please keep up the good work and I look forward to more of these excellent posts.

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About Me

Laura Gonzalez is an artist and writer. Her practice encompasses drawing, photography and sculpture, and her work has been exhibited in the UK, Spain and Portugal. She has participated in numerous conferences, including Research into Practice (2008), College Arts Association and the Association for the Psychoanalysis of Culture and Society (2007). When she is not following Freud, Lacan and Marx's footsteps with her camera, she lectures postgraduate students at the Glasgow School of Art.

She is currently immersed in an interdisciplinary project, which investigates psychoanalytic approaches to making and understanding objects of seduction within the fields of fine art, consumption studies and material culture. Her research includes an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik's shoes as objects of desire, a disturbing encounter with Marcel Duchamp's last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks. She seeks refuge and inspiration in psycho-geography, especially if it takes her to shopping centres, those mysterious places.